Following their triumphant production of The Ferryman, Tony®-winning Playwright Jez Butterworth and Oscar and Tony-winning Director Sam Mendes reunite for The Hills of California.
In the sweltering heat of a 1970s summer, the Webb sisters return to their childhood home in Blackpool, an English seaside town, where their mother Veronica lies dying upstairs. Gloria and Ruby now have families of their own. Jill never left. And Joan? No one’s heard from her in twenty years… but Jill insists that their mother’s favorite won’t let them down this time.
The run-down Sea View Guest House is haunted by bittersweet memories of amusement park rides and overdue bills. Back in the 1950s, each night the girls rehearse their singing act, managed by their fiercely loving single mom. But when a record producer offers a shot at fame and a chance to escape, it will cost them all dearly.
The Hills of California does not necessarily venture to any places that dysfunctional family drama has not tread before, but the switching-back-and-forth-between-decades structure — coupled with a commanding and versatile centerpiece performance by Donnelly — still make these hills worth climbing.
This is not the kind of play that brandishes a singular sharp point; it is the kind that swaddles you in innumerable impressions. Like Butterworth’s previous Broadway outings — the mythopoetic “Jerusalem” in 2011, the brawny Hugh Jackman vehicle “The River” in 2014 and especially the Irish fable “The Ferryman” in 2018 — “The Hills of California” is a yarn, not a lesson; a tale, not a tract. It resists interpretation, possibly as a way of resisting criticism, which, despite its flaws, it clearly does with great success.
2024 | West End |
West End |
2024 | Broadway |
Original Broadway Production Broadway |
Videos