Gloria (play)
| Gloria | |
|---|---|
| Written by | Branden Jacobs-Jenkins |
| Date premiered | May 28, 2015 |
| Place premiered | Vineyard Theatre, New York City |
Gloria is a dramatic comedy written by playwright Branden Jacob-Jenkins focusing on the lives of working Americans and dynamics in the workplace. The play made its debut Off-Broadway at the Vineyard Theatre in May 2015, after being developed by the same theatre. It was a finalist for the 2016 Pulitzer Prize for Drama.
The play takes place in modern-day Manhattan. It starts on a normal work day for a group of aspiring writers who are growing tired of the monotony of their desk jobs. Dean stumbles in hungover from a party at the home of the 'office freak', Gloria, the night prior. As the day goes on, everyone goes about their business, though tensions are high with a dispute over who should be allowed to write a story on a deceased singer, and Gloria begins to act stranger than usual. In a sudden shift in tone, Gloria shoots and kills many workers, including Miles and Ani, leaving Dean, Kendra, Nan, and Lorin alive. The story then follows the fall out of each character's life as they try to cope with the stress of witnessing the events and feud over who deserves a book deal based on the events of the shooting. Questions on the reasoning behind going postal and workplace toxicity are posed during the play.
Gloria premiered Off-Broadway at the Vineyard Theatre on May 28, 2015 in preview, officially on June 17, directed by Evan Cabnet. The artistic directors were Douglas Aibel and Sarah Stern, and the executive producer was Jennifer Garvey-Blackwell. Set design was created by Takeshi Kata, costumes were designed by Ilona Somogyi, lighting was designed by Marr Frey and the sound was designed by Matt Tierney. The play closed on July 18, 2015. A developmental workshop was held by the Vineyard Theatre in January 2013.
The Goodman Theatre produced the play, running from January 14, 2017 to February 19, 2017, directed by Evan Cabnet.
The New York Times pointed out how, "whip-smart satire of fear and loathing in a beleaguered industry under siege," and, "the cannibal culture cycles that grip and warp Americans’ attention these days," are portrayed in the play. New York Theatre also credits the play with, "providing more illumination into the characters, and raising some intriguing questions, such as the ugliness of artistic ambition, the ways we individually and as a society process trauma, the exploitation and corruption inherent in our commercial culture."The Hollywood Reporter also recognizes Jacob-Jenkins himself, as he, "handles his serious themes in a thoughtful, provocative manner."
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