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The old South lives on at the MacGregor Plantation—in the breeze, in the cotton fields...and in the crack of the whip. It’s an antebellum fever-dream, where fear and desire entwine in the looming shadow of the Master’s House. Jim trembles as Kaneisha handles melons in the cottage, Alana perspires in time with the plucking of Phillip’s fiddle in the boudoir, while Dustin cowers at the heel of Gary’s big, black boot in the barn. Nothing is as it seems, and yet everything is as it seems.
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Jeremy O. Harris's plays include Slave Play (New York Theatre Workshop, NYT Critics Pick, Winner of the 2018 Kennedy Center Rosa Parks Playwriting Award, the Lorraine Hansberry Playwriting Award, and The Lotos Foundation Prize in the Arts and Sciences), “DADDY” (Vineyard Theatre/The New Group), Xander Xyst, Dragon: 1, and WATER SPORTS; or insignificant white boys (published by 53rd State Press). His work has been presented or developed by Pieterspace, JACK, Ars Nova, The New Group, NYTW, Performance Space New York and Playwrights Horizons. In 2018, Harris co-wrote A24’s upcoming film Zola with director Janicza Bravo. He is the 11th recipient of the Vineyard Theatre’s Paula Vogel Playwrighting Award, a 2016 MacDowell Colony Fellow, an Orchard Project Greenhouse artist, a resident playwright with Colt Coeur, and is under commission from Lincoln Center Theater and Playwrights Horizons. Jeremy is a graduate of the Yale MFA Playwriting Program.Review:
"There's delicious danger in truly not knowing what might happen next, and Slave Play is all about that collision between what’s terrifying and what’s tantalizing." (New York Magazine)
"This is a demanding play, and one of the things that it demands is the audience's discomfort. But that discomfort is productive ― and in the end, it brings its own satisfactions. It creates a space in which the messiness and rawness of race and power and fantasy and trauma can unspool into a chaotic churn of impressions." (Vox)
"[A] willfully provocative, gaudily transgressive and altogether staggering new play." (New York Times)
"This wildly imaginative work asserts itself with a daringness rarely seen on our stages these days." (Hollywood Reporter)
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