“Richard Nelson uses the stage not as a pedestal but as a field of whispered dreams.” —Michael Schulman, New Yorker It is 1958. In the midst of a building boom in New York City, Joe Papp and his colleagues are facing pressure from the city’s elite as they continue their free Shakespeare in Central Park. From the creator of the most celebrated family plays of the last decade comes a drama about a different kind of family—one held together by the belief that the theater, and the city, belong to all of us.
“Richard Nelson uses the stage not as a pedestal but as a field of whispered dreams.” —Michael Schulman, New Yorker It is 1958. In the midst of a building boom in New York City, Joe Papp and his colleagues are facing pressure from the city’s elite as they continue their free Shakespeare in Central Park. From the creator of the most celebrated family plays of the last decade comes a drama about a different kind of family—one held together by the belief that the theater, and the city, belong to all of us.
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