Press Quotes

“Wonderful … HUNGRY, a work in which nothing much happens beyond some contemplative pre-dinner chatter, may well be the most resonantly topical and emotionally engaging play of this election year.” —Ben Brantley, New York Times

“[HUNGRY’s] thousand acts of extreme daily realism, from chopping vegetables to the constant dance of interpersonal negotiation, amount to a kind of human politics, dramatizing, as many more ‘dramatic’ plays cannot, the historic conflict and consolations of living in our country right now.” —Jesse Green, New York Magazine

“[Nelson] may just be quietly building a masterwork.” —Linda Winer, Newsday

“if you want to understand the forces driving the current presidential election, pay close attention to this play.” —The Daily Beast

“Richard Nelson’s quietly incandescent play HUNGRY, a play that feels as fresh as if it was written this morning …” —Jeremy Gerard, Deadline/Hollywood

“… delivers the sort of intimacy rarely encountered on the stage.” —Frank Scheck, The Hollywood Reporter

“… with a wordsmith’s scalpel, [Nelson] performs delicate surgery on the American psyche to probe what ails it. In exquisite character portrayals by Nelson’s six actors, we learn that the political season coincides with the ageless experience of loss — the death of Thomas, Hannah’s subtle casualisation from caterer to maid, Karin’s envy of a decent, dogged family, and the perennial mysteries of old age into which Patricia is disappearing. The crafted naturalism of each family member arriving to clutter the kitchen with books and ingredients, stir the (actually) cooking pot and set the table eases the audience into a realm of domestic intimacy. Against all theatrical rules, there’s almost no dramatic action, but as the gentle conversations unfold around the table, you feel the urge to lean in and listen intently. And you are rewarded.” —Victoria Laurie, The Australian

“Unique chance to be a fly on the Gabriels’ kitchen wall is not to be missed … What is perhaps surprising about these plays at first sight is how little the family discuss politics as such. For the Gabriels, it’s the little rituals of family life that matter, exemplified by how they set the kitchen at the start of each play. It is the issues that matter to ordinary people that Nelson wants to explore. How do we pay for health care? With rich ‘out-of-towners’ buying up our properties, why can’t we afford to live in our own communities any more? When did the banks stop paying interest to savers? The communal activity of cooking a meal is the enabler, a special ‘family’ time at which such matters can naturally come to the fore at an unforced pace. It’s all real — you can smell the onions frying — and put across with a particularly magical naturalism inhabiting every line, gesture and chopped pimento … Much of the writing is heart-warmingly gentle and brilliantly observed. There’s plenty of humour … The Gabriels will stay with you long after you leave the theatre.” —Clive Paget, Limelight Magazine (Australia)

Author(s)

Book Information

Special Notes

If original stage producers credits appear in bold below, all licensees are required to include them in the following form on the title page in all programs distributed in connection with performances of the Play and in all advertising in which the full cast appears in size of type not less than ten percent (10%) of the size of the title of the Play:

In addition, the following must appear within all programs distributed in connection with performances of the Play: