Clybourne Park

There are few stories that are capable of safely capturing the humor in political correctness and certain liberal ideologies like Clybourne Park does. The second part of the play is particularly provocative, dealing directly with the resentment that lies dormant behind euphemisms and racial debates. Written by Olivier Award-winning American writer and actor Bruce Norris, Clybourne Park is one of the only two plays to win the Pulitzer Prize, Tony Award, and Olivier Award! It scored rave reviews and was widely regarded as one of the best tragic comedies of the decade. The play went on to be nominated for numerous other awards including Evening Standard Theatre Award and the London Critics Circle Award for Best New Play. When it comes to asking uncomfortable questions and ingeniously crafted humor, Clybourne Park is truly unmatched in intensity and scope!

The Story

The story begins in an unnamed American neighborhood in 1959. Bev and Russ are moving out of their cozy home after an unforeseen family tragedy. As a consequence of the knockdown price, it is quite evident that a black family will be moving in. The people in the neighborhood are not happy with this development, as illustrated by one of the residents, Carl, who crassly remarks that the couple is undermining their property value. Carl does not bother about the black maid Francine while making his rude remark. 50 years later, the neighborhood has morphed entirely, and all the residents are now black. Lindsey and Steve, a young couple, are subjected to hostility when they attempt to build a house on the same plot. A woman named Lena vocally reveals her concerns about the cultural issues the newcomers will cause. As the show progresses, the clash of communities turns into a verbal war. Is Lena really any different from Carl? Now that the tables have turned, has anything changed for the better?

Good For

Comedy Lovers | Fans of Bruce Norris

Reviews

“There are few more enjoyable sights than watching liberal hypocrisy being given a good thrashing, and Bruce Norris's Royal Court transfer arrives in the West End with such a combustible mix of race, territory and property prices that it is like a hand grenade lobbed into the stalls, primed to explode in the second act.”
- The Guardian