Broadway bound, but stopping in Philly first

January 31, 2012|By Howard Shapiro, Inquirer Staff Writer
  • The cast of "Clybourne Park" includes (from left) Steve Pacek, Erika Rose, and Josh Tower. The play, often funny, deals openly with race.

Clybourne Park, a provocative and funny play about the way people discuss race - has become a magical stage property, its rapid trajectory unstoppable.

The play, set in the same Chicago house that figured in Lorraine Hansberry's groundbreaking 1959 play A Raisin in the Sun, premiered just two years ago Off-Broadway, hit London 18 months ago, and then Washington. It got legs, as they say - and quickly - with recent productions in Toronto and Germany. In March, Clybourne Park won Britain's prestigious Olivier Award, in April the Pulitzer Prize. A production that opened in Los Angeles last week moves directly to Broadway in the spring.

Story continues below.

But not before it opens here Wednesday night at the Arden Theatre Company.

How the Arden happens to be staging a new play now scheduled for Broadway, where power and big-money stakes could kill all other rights to it, isn't just a matter of who you know - although that's part of it.

Clybourne Park's author, Bruce Norris - also sometimes an actor (on Broadway, Biloxi Blues, in film, the stuttering teacher of The Sixth Sense) - has in the past worked closely with Ed Sobel, the Arden's associate artistic director who is directing the play here. In another connection, Norris and the Arden's leader, Terrence J. Nolen, both went to Northwestern University; Norris' Los Angeles roommate was Nolen's at another point.

Back then, "Bruce used to say he acted to pay the bills, so that he could write," Nolen remembers. Now Norris, 51, can write, it seems, whatever he likes - and he is about to hide out in Wyoming at a writers' retreat to finish two commissioned plays he's working on; he's just completed a third, for Lincoln Center.

As any artistic director will tell you, nailing down new plays before they're on the fast track takes more than connections. It's also about luck, and being electrified by a script. Bidding rights come into the picture, and so does timing; if your theater company is already committed to a season, another company in town may grab the play.

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