(Chicago, IL) Prince Prize- and Guggenheim Fellowship-winning playwright Thomas Bradshaw makes his Chicago debut with Mary, starting February 5, at Goodman Theatre. Based on a true story, Mary uses social satire to examine the pervasive nature of racism and homophobia in contemporary American society. Hilton Als of the New Yorker has hailed Bradshaw’s plays as “rich and groundbreaking,” praising his ability to create a body of work which “defies categorization” among writers of his generation; the Village Voice named him “Best Provocative Playwright.” May Adrales—who also directed Bradshaw’s 2009 play, The Bereaved—stages this world-premiere Goodman commission, which was first seen in the Goodman’s 2009 New Stages Series. Performances are February 5 — March 6, 2011 in the Goodman’s Owen Theatre; tickets are $10 — $42. Mary contains mature subject matter. Albert Goodman/The Edith-Marie Appleton Foundation is the Major Production Sponsor for Mary. Goodman Theatre and Thomas Bradshaw are the proud recipients of Prince Charitable Trusts’ Prince Prize for Commissioning Original Work for Mary. Prince Charitable Trusts is the leading contributor to the Goodman’s New Works Endowment Fund and Principal Support of Artistic Development and Diversity Initiatives is provided by The Joyce Foundation.
Set in 1983 at the height of what Time magazine dubbed “AIDS hysteria,” Mary takes place at the Jennings’ Southern Maryland family home, where not much has changed since the 1800s—including the slave quarters. When college student David invites his boyfriend, Jonathan, home to meet his parents and their domestic servants, the events set in motion are alternately hilarious, disturbingly farcical and politically incendiary. “In a Bradshaw play, no one in the audience gets to sit back in safety and crow over the sins of others. In matters of vanity and perversity, our lust for psychic and social power—in addition to our secret angers: class, race and gender—are equal opportunity employers.” (Margo Jefferson, BOMB magazine).
“You watch a play like Mary, and our modern, politically-correct sensibility leads us to think, ‘these must be backwards people, this is certainly reprehensible behavior, these people have to be evil.’ But they’re not. Nothing in my plays is pure black or white. All of my characters exist along the spectrum of gray, just as all people do—no one is absolutely good or absolutely evil,” said Playwright Thomas Bradshaw. “This play is based on a true story; there is a unity of what the characters are thinking, feeling and doing. I’m interested in presenting real human beings and all of their complexity.”