Women of a Certain Age
Play Description
THE GABRIELS trilogy chronicles a year in the life of a neighboring family who reunite in real time at three different points across 2016 to celebrate, remember, and wait for the world to change. History and politics, art and culture, love and hate are all on the table as the Gabriels gather in the kitchen of the house they grew up in — ultimately revealing the deep, human impact of one of the most extraordinary years in American history. Part Three, WOMEN OF A CERTAIN AGE: It is election night as the Gabriels economic woes worsen. They have worked hard and played by the rules, and yet they are slipping from the middle class. Is there hope to be had?
Production Info
Cast: 6 total (5 female, 1 male)Full Length Drama (about 100 minutes)
Single Set
Contemporary Costumes
- Reviews
- About the Author(s)
- About the Book
- Special Notes
- Productions
Press Quotes
“[The Gabriels] … may collectively represent the most profound achievement in topical theater in this country since the Depression-era triumphs of Clifford Odets’ WAITING FOR LEFTY and Marc Blitzstein’s THE CRADLE WILL ROCK. Not that Mr. Nelson’s cycle of works is anything like those ardently partisan predecessors … What Mr. Nelson … does is quieter and, ultimately sadder and more resonant. He asks us to sit down in real time, in the kitchen of a close family for a casual meal. And as we listen to its members talk, even on trivial subjects like the decoration of cookies, we feel the far-reaching tremors of a scared country that has come down with a rattling case of identity crisis …” —Ben Brantley, The New York Times
“Nelson’s work seems more vital than ever.” —Max McGuinness, The Financial Times
“One of the exquisite rewards of WOMEN OF A CERTAIN AGE, and there are countless, is that while the play takes place on Election Night 2016 when it premiered … it provides a reprieve from the muck of politics. It’s a kind of healing balm, if you will, from the toxicity of a U.S. presidential race that was nastier and more divisive than any in memory.” —David Rooney, The Hollywood Reporter
“It’s Nelson’s greatest strength as playwright and director here that he relegates politics mostly to the background; it’s oddly secondary (it wouldn’t be for anyone else) that this is at once the most and least momentous installment in the series — and perhaps Nelson’s canon — with nothing and everything happening simultaneously, and at a dizzying pace.” —Matthew Murray, Talkin’ Broadway
“… 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)
Book Information
Publisher | BPPI |
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Publication Date | 3/26/2017 |
Pages | 104 |
ISBN | 9780881457001 |
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:
Originally developed and produced by
The Public Theater
Oskar Eustis, Artistic Director; Patrick Willingham, Executive Director
In addition, the following must appear within all programs distributed in connection with performances of the Play:
by special arrangement with Broadway Play Publishing Inc, NYC
www.broadwayplaypub.com