- The Humana Foundation
March 7 - April 6, 2014
Run Time: 70 minutes
There will be no intermission.
by Jordan Harrison
directed by Ken Rus Schmoll
How can you keep from missing your whole life?
Kai is a ten-year-old boy sitting at his grandfather’s feet, listening to a story. Or else he’s a young television writer weathering the humiliations of the Hollywood rat race. Or else he’s a salty old man in a wheelchair, receiving an award for “not being dead yet.” Has Kai run afoul of some powerful magic, or is he just living an ordinary, too-quick human life? A time-bending, sad, funny adventure about how to survive growing up.
Jordan Harrison’s previous Humana Festival productions include Kid-Simple, Act a Lady, Fit for Feet and Maple and Vine, which went on to be produced at Playwrights Horizons in New York and A.C.T. in San Francisco. Harrison’s other plays include Doris to Darlene (Playwrights Horizons), Amazons and their Men (Clubbed Thumb), Finn in the Underworld (Berkeley Repertory), Futura (Portland Center Stage) and a children’s musical, The Flea and the Professor (Arden Theatre). His new play Marjorie Prime will premiere in fall 2014 at the Mark Taper Forum. Harrison is the recipient of a Guggenheim Fellowship, a Hodder Fellowship, the Kesselring Prize, the Roe Green Award from Cleveland Play House, the Heideman Award, the Loewe Award for Musical Theater and a NEA/TCG grant. A graduate of the Brown University M.F.A. program, Harrison is an alumnus of New Dramatists.
- Audience Advisory: Adult language and content.
- Age Recommendation: Ages 15+ (Grades 12+)
The Grown-up was commissioned and developed by clubbed thumb and supported by the 2012-2013 clubbed thumb writers’ group. the commission of The grown-up is made possible by the new york state council on the arts with the support of governor andrew cuomo and the new york state legislature.
What the critics are saying about The Grown-Up
“The Grown-Up is a magical ride through time and space that serves as a stealthy extended metaphor for the power of imagination and storytelling.” — Erin Keane, WFPL
“Harrison’s play requires its actors to become shape-shifters, and with this cast, his characters are in expert hands.” — Elizabeth Kramer, Courier-Journal
“Breathtaking verbal pyrotechnics from a brilliant ensemble cast.” – Marty Rosen, Leo Weekly
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