By Tracy Letts
Winner of the 2008 Pulitzer Prize for Drama
“A great success in American playwriting: a tragicomic populist portrait of a difficult land and a harder people.”—Time Out New York
“Tracy Letts’ August: Osage County is what O’Neill will be writing in 2007. Letts has recaptured the the Aristocracy of yank drama’s mid-century heyday whereas nonetheless developing anything fullyyt original.”—New York magazine
One of the main bracing and significantly acclaimed performs in fresh Broadway historical past, August: Osage County is a portrait of the dysfunctional American family members at its finest—and absolute worst. whilst the patriarch of the Weston extended family disappears one sizzling summer season evening, the kin reunites on the Oklahoma domicile, the place long-held secrets and techniques are unflinchingly and uproariously printed. The three-act, three-and-a-half-hour substantial of a play combines epic tragedy with black comedy, dramatizing 3 generations of unfulfilled desires and leaving no longer certainly one of its 13 characters unscathed. After its sold-out Chicago superior, the play has electrified audiences in manhattan for the reason that its establishing in November 2007.
Tracy Letts is the writer of Killer Joe, Bug, and Man from Nebraska, which used to be a finalist for the 2004 Pulitzer Prize for Drama. His performs were played through the kingdom and the world over. A performer in addition to a playwright, Letts is a member of the Steppenwolf Theatre corporation, the place August: Osage County premiered.
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Extra resources for August: Osage County
He is constantly concerned about the nature of George’s language in front of Honey (ironically, he doesn’t make any protestations about Martha’s equally strong language). And whereas he will openly flirt with Martha and dance sensually with her, he is offended if George makes even the slightest reference to Honey’s sexuality. Nick, while slow in recognizing George and Martha’s child as being a product of the imagination, does finally realize their plight, and, as a result, is horrified by the realization.
In view of the fact that she refuses to face the reality of childbearing, it therefore follows that her actions are those of an adult child, and her husband, Nick, will often treat her as one by trying to protect her from certain language, from sexual references, and by constantly overseeing her actions. Her childlikeness is further emphasized by her habit of gurgling, being obtuse to the reality of the situation around her, and ultimately, by curling up in a fetal position when she is drunk and peeling the labels off liquor bottles.
While Nick is holding her, George flippantly and triumphantly tells her: “Now listen, Martha; listen carefully. We got a telegram; there was a car accident, and he’s dead. POUF! Just like that! ) Martha continues to attack George’s presumption that he can make such a decision by himself. The building of the illusion had been a joint effort; thus, she feels betrayed that the illusion is suddenly destroyed. Since the illusion had been so completely a part of her life, its destruction is a deathblow as strong as real physical death.