Kirjahaku

Is laziness the opposite of love? Is the search for the Self for total nobodies? These are questions posed through the prolific pen of Will Eno one of America's leading contemporary playwrights whose talents for playful idiosyncratic language shine through in Gnit. Watch closely as Peter Gnit a funny-enough but so-so specimen of humanity makes a lifetime of bad decisions on the search for his True Self which is disintegrating while he searches. A rollicking and very cautionary tale

WINNER! of the inaugural Horton Foote Award for Most Promising New Play of 2010Middletown is a deeply moving and funny new play exploring the universe of a small American town. As a friendship develops between longtime resident John Dodge and new arrival Mary Swanson the lives of the inhabitants of Middletown intersect in strange and poignant ways in a journey that takes them from the local library to outer space and points between.

WINNER! 2014 Lucille Lortel Award - Outstanding Play WINNRE! 2014 Obie Award - Playwrighting (Will Eno) & Direction (Oliver Butler) WINNER! 2014 Drama Desk Special Award People have been born into families since people started getting born at all. Playwrights have been trying to write Family Plays for a long time, too. And typically these plays try to answer endlessly complicated questions of blood and duty and inheritance and responsibility. They try to answer the question, "Can things really

In The Realistic Joneses, we meet Bob and Jennifer and their new neighbors, John and Pony, two suburban couples who have even more in common than their identical homes and their shared last names. As their relationships begin to irrevocably intertwine, the Joneses must decide between their idyllic fantasies and their imperfect realities.

"Behold the newest nobody of the funniest century yet. He's almost Christ-like from a distance in terms of height and weight. Listen closely or drift off uncontrollably as he speaks to you directly about the notion of home about the notion of the world. All of it delivered with the authority that is the special province of the unsure and the un-homed which is a word he made up accidentally. The running time if he doesn't die or think of anything else is roughly one hour. Title and Deed

"Is it now? I thought I had more time."These first words in Will Eno's play are spoken by Guy a man who knows like all of us on some level that he is about to die. The play questions why we are here and the journeys that everyone takes to eventually get to the same place. Eno challenges what is worth celebrating in life and what is worth treasuring in this moving and funny play.

A moving mysterious at times hilarious story of a tiny plot of land and some people with grand and incompatible designs on it.

The Underlying Chrisis a life-affirming and high-spirited look at how a person comes into their identity and how sometimes it's life's tiniest moments that most profoundly change our lives. In these divided times The Underlying Chrisserves as a celebration of our differences our individuality and the many mysterious difficult and beautiful things we share simply by being alive.

"A haunting and often fiercely funny meditation on life as a state of permanent exile... The marvel of Mr. Eno's voice is how naturally it combines a carefully sculptured lyricism with sly, poker-faced humor. Everyday phrases and familiar platitudes--'Don't ever change, ' 'Who knows'--are turned inside out or twisted into blunt, unexpected punch lines punctuating long rhapsodic passages that leave you happily word-drunk." --Charles Isherwood, New York Times on Title and Deed "Title and Deed is daring within its masquerade of the mundane, spectacular within its minimalism and hilarious within its display of po-faced bewilderment. It is a clown play that capers at the edge of the abyss... Eno's voice is unique; his play is stage poetry of a high order. You can't see the ideas coming in Title and Deed. When they arrive--tiptoeing in with a quiet yet startling energy--you don't quite know how they got there. In this tale's brilliant telling, it is not the narrator who proves unreliable but life itself. The unspoken message of Eno's smart, bleak musings seems to be: enjoy the nothingness while you can." --John Lahr, New Yorker "Eno is a supreme monologist, using a distinctive, edgy blend of non sequiturs and provisional statements to explore the fragility of our existence... There are a lot of words, but they are always exquisitely chosen... Oh, the Humanity reveals that we are beautiful walking tragedies blinking with absurd optimism into the camera lens of history." --Lyn Gardner, Guardian Known for his wry humor and deeply moving plays, Will Eno's "gift for articulating life's absurd beauty and its no less absurd horrors may be unmatched among writers of his generation" (New York Times). This new volume of the acclaimed playwright's work includes five short plays about being alive--Behold the Coach, in a Blazer, Uninsured; Ladies and Gentlemen, the Rain; Enter the Spokeswoman, Gently; The Bully Composition; and Oh, the Humanity--as well as Title and Deed, a haunting and severely funny solo rumination on life as everlasting exile. WILL ENO lives in Brooklyn, New York. His plays include The Flu Season, Tragedy: a tragedy, King: a problem play, and Intermission. His plays have been produced in London by the Gate Theatre and BBC Radio, and in the United States by Rude Mechanicals and Naked Angels. His play The Flu Season recently won the Oppenheimer Award, presented by NY Newsday for the previous year's best debut production in New York by an American playwright.

"Plays as funny and moving, as wonderful and weird as The Realistic Joneses do not appear often on Broadway. Or ever, really... Mr. Eno's voice may be the most singular of his generation." -Charles Isherwood, New York Times "As usual, Eno's dialogue is a marvel of compression and tonal control, trivial chitchat flipping into cosmic profundity with striking ease... There's much to savor: the dry but meaningful banter, the joy of humans sharing time and space, battling the darkness with a joke or silence. Life in Enoland isn't what you'd call realistic -- it's more real than that." -David Cote, Time Out New York "A macabre and melancholy yet strangely delightful comedy... In The Realistic Joneses the world is familiar and, then again, very scary. It's also weird and cruel and profound in all sorts of unexpected places -- as sad as life but a whole lot funnier." -Linda Winer, Newsday "A funny yet poignant play... Eno long ago staked his claim as a linguistic hipster who reimagines the absurdist likes of Beckett and Albee for our post-Seinfeld age... 'Nothing is funnier than unhappiness, ' we are told in Beckett, and so it is with this very fine play where laughter exists a heartbeat, or heartbreak, away from tears." -Matt Wolf, Telegraph (UK) Bob and Jennifer and their new neighbors, John and Pony, are two suburban couples who have more in common than their identical last names. This existential comedy, pitched in Will Eno's singular voice, finds the darkness, sweetness and hilarity in our fleeting and ordinary days, as we seek to reveal ourselves, and conceal ourselves, often in the same minute. Sometimes there are only short-term answers to life's eternal questions, but all four Joneses, like all of us, are going to try their best, in very different ways.

"Eno is at his most achingly, triumphantly humanist here. He has, in this wonderful, wonderful play, actually struck on something resembling a satisfying answer to death, buried somewhere in the knowledge that we live a million rebirths in even the smallest of gifts we leave behind." --Graham Techler, Paste Magazine What are we here for? Is time a friend or an enemy? Do we all eventually end up in the same place, but take different routes to get there? This funny, moving, and thought-provoking new play by Will Eno challenges the notion of what really matters and recognizes the importance of life's simple pleasures. (All of which might sound dreary, but there's a chance this will be a really good experience.)

"It's sad, isn't it? The dead horse of a life we beat, all the wilder, all the harder the deader it gets. On the other hand, there are some nice shops in the area." Thom Pain has come to a certain point in his life. Maybe you have too. His entire existence is ordinary; but that ordinariness is a revelation and a wonder and a curiosity. To him at least. He'd better hope so. It's all he has (except maybe a dictionary and an old love letter). Comic and disturbing, this provocative monologue charts one man's anguished journey from shattered childhood dreams and trauma to the tenuous, if guarded, optimism of adulthood, told in dangerous intimacy by a voice loaded with wry humor and deceptive charm.

No one in the middle of being in love ever sat down to write a love story. It's only after the belongings are sorted and the shirts returned that the pencils are sharpened and the notebooks opened. So, in a serious way, love stories are never love stories. Love is their inspiration, yes, but the end of love is the reason for their existence. This is a problem. It proposes anti-journeys where we saw only journeys, directs things toward a new negative we hadn't intended. The Flu Season tries to be a love story, anyway. It has a strategy. The play revels in it's ambivalence, lives in fits and starts, and derives a flailing energy from its doubts about itself. But these come at a price, which is paid by the characters in the play. A kind of clarity finally comes. In the end, is the end.

Is the search for the Self for total nobodies? Watch closely as Peter Gnit, a funny-enough but so-so specimen of humanity, makes a lifetime of bad decisions, on the search for his True Self, which is disintegrating while he searches. A rollicking and very cautionary tale about, among other things, how the opposite of love is laziness. Gnit is a faithful, unfaithful, and willfully American misreading of Henrik Ibsen’s Peer Gynt, a 19th century Norwegian play which is famous for all the wrong reasons, written by Will Eno, who has never been to Norway.

In The Realistic Joneses, we meet Bob and Jennifer and their new neighbours, John and Pony, two suburban couples who have even more in common thantheir identical homes and their shared last names. As their relationships begin to irrevocably intertwine, the Joneses must decide between their idyllic fantasies and their imperfect realities. This contemporary comedy explores how our joys and sorrows - and how we choose to face them - can come to define our lives.

People have been born into families since people started getting born at all. Playwrights have been trying to write Family Plays for a long time, too. And typically these plays try to answer endlessly complicated questions of blood and duty and inheritance and responsibility. They try to answer the question, "Can things really change?" People have been trying nobly for years and years to have plays solve in two hours what hasn't been solved in many lifetimes. This has to stop. The Open House is an hour and twenty minutes, with no intermission.

This funny, moving, and thought-provoking new play, written and directed by Lucille Lortel and Obie Award-winner Will Eno, challenges the notion of what really matters and recognizes the importance of life’s simple pleasures. (All of which might sound dreary, but there’s a chance this will be a really good experience.)

The sun has set over streets of houses, government buildings and American backyards everywhere. The world is dark. A news team is on the scene. Their report: someone left the lawn sprinklers on; someone's horse is loose; a seashell is lying in the grass; dogs run by. The Governor issues excited statements appealing for calm. It is night-time in the world. Everyone's afraid. Everyone doesn't know if the sun, once down, will ever rise again. But there is a witness, and the witness will speak.

From the dark corners of Western civilisation, here comes Thom Pain, telling it like it is, like it isn't, like it should be. A nobody, an Everyman, hey, he's just like you. This is for the faint heart, this is for the wounded, for the average, the uneducated masses, the living, for those who have not had enough. Published with another, as yet untitled monologue. Thom Pain opens at the Edinburg Fringe, produced by the Soho Theatre, in August 2004.

Includes: Behold the Coach, in a Blazer, Uninsured; Ladies and Gentlemen, the Rain; Enter the Spokeswoman, Gently; The Bully Composition; and Oh, the Humanity Five short plays about being alive. We’d like you to meet a bunch of people with something on their mind. There’s a coach with an awkward confession to make and a spokeswoman who doesn’t know what to say. This man and that woman want to fall in love, but they’re not quite sure how. Oh, and these people want to take your picture, so just act natural, ok? Witty, charming and playful, Oh, The Humanity exposes the terrible hope and hilarious uncertainty of our lives, through the eyes of one of New York’s hottest playwrights.