Goodman’s 2010–11 season: Zimmerman’s Candide, Falls’s Seagull, Taylor, Bradshaw and Ruhl
The Goodman Theatre has set the bulk of its 2010–2011 season, during which the theater will celebrate the tenth anniversary of its current facility in the Loop theater district. The five plays announced today include new works by Regina Taylor (MagnoliaMagnolia reviews
), Sarah Ruhl (Passion PlayPassion Play reviews
) and Thomas Bradshaw; in addition, artistic director Robert Falls revives The Seagull, mercifully alleviating that Chekhov drought that hasn’t been gripping the city of late, and Mary Zimmerman will put her flowy stamp on the 1956 musical satire Candide.
The season opens in September with Zimmerman’s Candide, Leonard Bernstein and Hugh Wheeler’s take on Voltaire’s cockeyed optimist, in the Albert. The libretto features lyric contributions from Stephen Sondheim, Lillian Hellman and Dorothy Parker, and the Goodman promises “new adaptations from Voltaire by Mary Zimmerman.” Guess when you’re a MacArthur “genius” you get to do things like that. The boilerplate on Falls’s Seagull, in the Owen in October, makes no such revisionist promises; there’s also no word yet on whether it’s aiming for Broadway (a leap that Falls’s 2009 Desire Under the Elms made and that his current double bill of Hughie and Krapp’s Last Tape hopes to).
Taylor’s Rain, premiering in the Albert in January 2011, is described as the playwright’s “most personal and intimate work to date”; in it, a New York journalist seeking comfort in the wake of her divorce returns to her mother’s Texas home, where family secrets quickly come to light. (As much as I admire Taylor’s playwriting work, I’m still waiting for the DVD release of I’ll Fly Away.)
Mary is, I believe, the Chicago debut by Bradshaw, a prolific young fixture on New York’s downtown scene; the play, which opens in the Owen next February, is a “comic absurdist drama” involving AIDS and Virginia slave quarters. Sounds promising coming from a guy the Village Voice once named “best provocative playwright” and whom our pals at Time Out New York have described as “like Sarah Kane with a sense of humor.”
Sarah Ruhl, the group’s other MacArthur “genius,” offers Stage Kiss, a “quirky new comedy” about a pair of actors, exes in real life, forced into a stage romance. Ruhl does quirky? Who knew. It’s in the Albert in March. The Bradshaw and Ruhl offerings are both Goodman commissions, and I’m glad to see a commissioning body actually producing the plays it paid to have written—a final step in the process that too few commissioning theaters achieve. Three more plays are still to be announced, likely next month.
































