Barbecue robert o hara script

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barbecue robert o hara script

Barbecue / Bootycandy by Robert OHara

Searing and sensationally funny... As raw in its language and raucous in spirit as it is smart and provocative.—The New York Times

Funny, smutty and enticingly subversive. . . . A toxically satiric portrait of American life.—Washington Post

When I told my mother that a theater was putting on my play Bootycandy, her response was, What?! Bootycandy? These white folks are going to let you put on a play called Bootycandy?!? Are they crazy??? And my response was, Yes. Yes indeed.—Robert OHara

Sutter is on an outrageous odyssey through his childhood home, his church, dive bars, motel rooms, and even nursing homes. The journey uncovers characters who are at once fascinating, zany, controversial, and even a bit smutty, painting a portrait of life as a societal outlier. Based on the authors personal experience, Bootycandy is a kaleidoscope of sketches that interconnects to portray growing up gay and black. This subversive, uproarious satire crashes headlong into the murky terrain of pain and pleasure and . . . BOOTYCANDY!

Robert OHara is a playwright and director. His play Antebellum received a world premiere production from Woolly Mammoth Theater Company, and earned him a Helen Hayes Award for Outstanding New Play. He reworked The Wiz for its revival at La Jolla Playhouse. He wrote and directed the world premiere of Insurrection: Holding History (Public Theater, Oppenheimer Award for Best New American Play). As a director, he has won an Obie Award and an NAACP Best Director Award and has worked at acclaimed theaters throughout the United States.
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Published 22.12.2018

What's the Deal with Barbecue?

The archives of American drama are stacked with depictions of families who we can be grateful are not our own.
Robert O'Hara

Intiman Theatre’s ‘Barbecue’ almost literally flips the script on race — over and over again

Robert O'Hara's Barbecue is a wild theatrical experience that defies logic and explanation, a work so full of bombshells that the ushers don't even dispense programs until intermission. To describe the plot is to divulge one spoiler after another, but, in an era where most writers can only muster up parody, O'Hara has created a true satire, laden with as much humor as there is criticism. In an email sent before the show, the press team at the Public Theater , where this production is running, noted that there are huge reveals within O'Hara's crackling script and Kent Gash's imaginative production, and asked reviewers to use "wise discretion on what you reveal…so that future audiences can still be surprised at the play when they see it. No one in good conscience should reveal all of the plot machinations within Barbecue , because they're so unbelievably bizarre and amusing that they really need to be experienced firsthand. All you need to go in knowing is that Barbecue is set in a park in Middle America, where the O'Malley siblings are about to stage an intervention for their crackhead sister, Barbara Samantha Soule.

Grilling meat and slicing pies are really only decoys, in fact. That play took the form of a sketch comedy show as it tackled a tough subject, the stigmatization of homosexuality in African-American culture. As they bicker and bitch in colorful, backwoodsy colloquialisms, we also learn that virtually every member of the family suffers from some form of addiction or pathology.
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Playwright Robert O'Hara puts the American family through the wringer at the Geffen Playhouse.

There the characters gripe and argue as though their lives depended on it—and, ultimately, they do, at least from a financial point of view. The play opens with a thin, sour-faced, middle-aged white man, James T Paul Niebanck , alone onstage, downing a beer and yakking loudly on his cell phone.

With so many substances and compulsions in the mix, you might start to wonder how reliable these characters could be in defending their own actions, much less holding Barbara accountable for hers. Turning that same lens on ourselves, to what extent do we edit and recast our own stories depending on our need to justify ourselves, or shift responsibility, or persuade someone else? The implied corollary to that is there might be certain species of fact that we do our best to discount and ignore. The result is that we depend on stories — told to us by others, or told to ourselves — to make sense of the world and formulate a sense of objective reality. We depend on stories — told to us by others, or told to ourselves — to make sense of the world and formulate a sense of objective reality. Director Summer L.

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