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The Humans, by Stephen Karam
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"A kind, warm, beautifully observed and deeply moving new play, a celebration of working-class familial imperfection and affection and a game-changing work for this gifted young playwright.”—Chicago Tribune
“Karam is in rare form here, showing a remarkable ear for the way families converse… For all the characters’ woes, this is a warm, funny, sharply observed portrait of their abiding connections with one another.” —Time Out Chicago
Breaking with tradition, Erik Blake has brought his Pennsylvania family to celebrate Thanksgiving at his daughter’s apartment in lower Manhattan. Unfolding over a single scene, this “delirious tragicomedy” (Chicago Sun-Times) by acclaimed young playwright Stephen Karam “infuses the traditional kitchen-sink family drama with qualities of horror in his portentous and penetrating work of psychological unease” (Variety), creating an indelible family portrait.
Stephen Karam’s plays include Speech & Debate and Sons of the Prophet, a finalist for the 2012 Pulitzer Prize and the winner of the 2012 Drama Critics Circle, Outer Critics Circle, Lucille Lortel and Hull-Warriner awards for Best Play. Born and raised in Scranton, PA, he lives in New York City.
- Sales Rank: #640326 in Books
- Published on: 2015-10-27
- Original language: English
- Number of items: 1
- Dimensions: .50" h x 5.40" w x 8.40" l, .0 pounds
- Binding: Paperback
- 112 pages
Review
Broadway reviews:
"The finest new play of the Broadway season so far -- by a long shot." – Charles Isherwood, New York Times
"An unsentimental look at the way we live today -- anxiety-ridden, having little control over our environment or bodies, forever stretched and always a step from the abyss. It is an absolute triumph." - Mark Kennedy, Associated Press
"There is so much love, dread, tenderness and brutality in "The Humans" that it is hard to believe just 90 minutes pass through Stephen Karam's deeply-felt family tragicomedy thriller..." - Linda Winer, Newsday
"Karam's transcendently mundane play is a reminder that family dinner dramas can still be surprising -- and they doesn't need ghosts or things that go bump in the night to achieve that. Real life is scary enough." - Stephan Lee, Entertainment Weekly
"In a mere 95 minutes, the playwright...delves into the dynamics of this clan with a gentleness that feels like compassion and a scrupulousness that borders on the forensic..." - Peter Marks, The Washington Post
"Karam's particular genius...is that he is less interested in the catastrophes that afflict us than in how we cope with them, gracefully and awkwardly. To pile on so much suffering would seem cruel in another playwright, but Karam is a profoundly compassionate writer. He shows us the bravery and tenderness of people trying -- and sometimes failing -- to get on with their lives." - Alexis Soloski, The Guardian
Off-Broadway reviews:
"Written with a fresh-feeling blend of documentarylike naturalism and theatrical daring... Mr. Karam’s comedy-drama depicts the way we live now with a precision and compassion unmatched by any play I’ve seen in recent years." – Charles Isherwood, New York Times
“Portentous and penetrating... Stephen Karam's family drama is a slow-burning study of psychological unease.” – Steven Oxman, Variety
“Thrilling... a small, deceptively quiet play where the fireworks of family implosion reverberate in your head long after the curtain has come down. Karam has a gift for revealing the deepest intricacies of his characters in moments of wordless isolation.” – Scotty Zacher, Chicago Theater Beat
“Karam has a special flair for making the absurd realities of contemporary life at once wildly laughable and heartbreakingly true... Very clever, delirious tragicomedy.” – Hedy Weiss, Chicago Sun-Times
“Karam, who explored a somewhat less traditional family dynamic in last season's Pulitzer finalist Sons of the Prophet, is in rare form here, showing a really remarkable ear for the way families can converse via the millionth teasing recounting of an old story as much as directly addressing the topic at hand. For all of the characters' woes, this is a warm, funny, sharply observed portrait of their abiding connections with one another.” – Kris Vire, Time Out Chicago
About the Author
Stephen Karam is the author of Sons of the Prophet, a finalist for the 2012 Pulitzer Prize and the recipient of the 2012 Drama Critics Circle, Outer Critics Circle, Lucille Lortel and Hull-Warriner Awards for Best Play. Other plays include Speech & Debate, the inaugural production of Roundabout Underground; columbinus (New York Theatre Workshop); and the libretto for Dark Sisters, an original chamber opera with composer Nico Muhly. Stephen is a MacDowell Colony fellow and the recipient of the inaugural Sam Norkin Off-Broadway Drama Desk Award. He teaches graduate playwriting at The New School. He grew up in Scranton, PA and is a graduate of Brown University.
Most helpful customer reviews
10 of 10 people found the following review helpful.
A Classic of Modern Theatre
By Justin Woulard
I read the play after having scene the Broadway staging. So I can't review it just as something I have read. That being said, this is an amazing play. The pathos and the quiet fury sneak up on you, hidden at first under the familiar quips of a typical family with its stories, in jokes, and knowing jabs at one another.
Eventually the jabs have teeth, and what seems like a subtle little family at Thanksgiving comedy turns into something different. There is a little bit of a gimmick, not a twist, but a theme that is hit maybe a little harder than needed, but it works. This is a play that leaves the audience or the reader thinking about it long after the curtain has fallen. It is a remarkable work.
10 of 10 people found the following review helpful.
Fully Human & Totally Convincing
By Tina Martin
What a totally convincing and compassionate play--a family of people struggling but still managing to be loving to one another.
3 of 3 people found the following review helpful.
Beautiful!
By Seano
Just a beautiful piece of writing. Snuck up on me - at the start, I though, what's all the fuss about? But the characters are subtly and gradually revealed to each be deep and nuanced, fully-fleshed out human beings. Flawed and in pain and hurting the ones they love even as they lean on them. The rhythms of the dialogue are so well-wrought, they serve the piece instead of taking it over. It's funny and sad and left me with my jaw on the floor at times. Will read it again, and recommend it highly.
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