Barbecue robert o hara script

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barbecue robert o hara script

Barbecue / Bootycandy by Robert OHara

Searing and sensationally funny... As raw in its language and raucous in spirit as it is smart and provocative.—The New York Times

Funny, smutty and enticingly subversive. . . . A toxically satiric portrait of American life.—Washington Post

When I told my mother that a theater was putting on my play Bootycandy, her response was, What?! Bootycandy? These white folks are going to let you put on a play called Bootycandy?!? Are they crazy??? And my response was, Yes. Yes indeed.—Robert OHara

Sutter is on an outrageous odyssey through his childhood home, his church, dive bars, motel rooms, and even nursing homes. The journey uncovers characters who are at once fascinating, zany, controversial, and even a bit smutty, painting a portrait of life as a societal outlier. Based on the authors personal experience, Bootycandy is a kaleidoscope of sketches that interconnects to portray growing up gay and black. This subversive, uproarious satire crashes headlong into the murky terrain of pain and pleasure and . . . BOOTYCANDY!

Robert OHara is a playwright and director. His play Antebellum received a world premiere production from Woolly Mammoth Theater Company, and earned him a Helen Hayes Award for Outstanding New Play. He reworked The Wiz for its revival at La Jolla Playhouse. He wrote and directed the world premiere of Insurrection: Holding History (Public Theater, Oppenheimer Award for Best New American Play). As a director, he has won an Obie Award and an NAACP Best Director Award and has worked at acclaimed theaters throughout the United States.
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Interview with Robert O'Hara

Barbecue / Bootycandy

The archives of American drama are stacked with depictions of families who we can be grateful are not our own. The damaged and perhaps dangerous O'Mallery clan of Robert O'Hara's Barbecue , now playing at the Geffen Playhouse , belong firmly among the ranks of these families. From its opening scene in a run-down park to its cynically starry-eyed conclusion two hours later, O'Hara's play like the O'Mallerys is a force to be reckoned with. With director Colman Domingo at the helm, this wickedly delightful production is as ripe for attention as the bound-for-stardom diva at its center. That diva in question is Barbara played by Rebecca Wisocky , who carries the unflattering nickname Zippity Boom. With the exception of controlling Lillie Anne, who is the intervention's organizer, Barbara's siblings all have problems, diseases, and addictions of their own. Based on their tales about their drunk and crackhead sister, it's Zippity Boom who is the closest to hitting bottom.

With so many substances and compulsions in the mix, you might start to wonder how reliable these characters could be in defending their own actions, much less holding Barbara accountable for hers. Turning that same lens on ourselves, to what extent do we edit and recast our own stories depending on our need to justify ourselves, or shift responsibility, or persuade someone else? The implied corollary to that is there might be certain species of fact that we do our best to discount and ignore. The result is that we depend on stories — told to us by others, or told to ourselves — to make sense of the world and formulate a sense of objective reality. We depend on stories — told to us by others, or told to ourselves — to make sense of the world and formulate a sense of objective reality. Director Summer L. The members of the cast walk a delicate line that verges on stereotypes, but — and this is important — they veer away from those stereotypes when it matters.

Click here to log in if you are one of our published authors. Candy, produced by Partial Comfort Productions. His work has been developed at Seattle Rep. Playscripts brings new plays and musicals to professional, school, community, and college theaters to perform, read and enjoy. These plays represent a great diversity of voices, styles, and stories and offer a fresh perspective on the human experience. Playscripts, Inc.

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There the characters gripe and argue as though their lives depended on it—and, ultimately, they do, at least from a financial point of view. The play opens with a thin, sour-faced, middle-aged white man, James T Paul Niebanck , alone onstage, downing a beer and yakking loudly on his cell phone. He is surrounded by greenery, but the trees and leaves look fake, like an ugly wallpaper version of nature. Do we still give a damn. We know that she gonna get up in here and act the plum fool. Of course she gonna be liquored up. Liquored up.


  1. Rosana V. says:

    Robert O'Hara - Wikipedia

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