by David Lindsay-Abaire
directed by Jackie Maxwell
Dark Comedy Broadway Smash
Enter the black hole of South Boston’s Lower End at your own risk. It’s an all too familiar place where minimum wage is the maximum wage and hard work and sacrifice don’t always add up to the ‘American Dream.’ But mouthy “Southie” native Margie, a single mother facing eviction, has got a plan to solve all her financial problems - and it’s just crazy enough to work. From Pulitzer Prize-winning playwright David Lindsay-Abaire (Rabbit Hole), Good People is a “poignant, brave and almost subversive” (New York Post) dark comedy about life in a broke and broken American town.
“ … A stellar cast … Really, really funny.”
“Painfully funny and gut-wrenchingly real.”
“Universally excellent performances.”
“[Johanna] Day is nearly flawless … extraordinary.”
“A moving testament to the depth and insight of this unique, socially relevant play.”
“The entire cast … is first-rate.”
“[Francesca] Choy-Kee is excellent”
“Crackles and shoots verbal sparks.”
“[Johanna] Day gives a masterful performance.”
“[Andrew] Long is excellent.”
“The play came about really because of three separate but persistent things I couldn’t get out of my head - a lack of new American plays about class, my old neighborhood of Southie - a very working class, hardscrabble, section of Boston’s inner city - and my experiences as a poor kid attending prep school. Class is something I know about. I’ve lived it every day of my life, and it shaped me in my identity but I didn’t want to be didactic about class. We have this myth that if you work hard, you can accomplish anything. It’s not a very American thing to say, but I don’t think that’s true. It’s true for a lot of people, but you need other things to succeed. You need luck, you need opportunity, and you need the life skills to recognize what an opportunity is.
I knew that if I DID decide to write about the old neighborhood, then class would inevitably bubble to the surface because it was so inherently present in the fabric of the community. And I thought if I could tap into my own experiences and memories that came out of attending that prep school, then maybe I could dramatize the topic in a way that reflected my own complicated feelings and struggles with it. So with all those ingredients stewing in the pot, I started to write.
And out came Good People.”
— David Lindsay-Abaire, playwright
“Very fine … one of the more subtly surprising treats of this theater season.”
– New York Times
Johanna Day in Good People
Andrew Long in Good People