Will Eno's new play The Realistic Joneses comes to Broadway starring Golden Globe and Emmy Award-winner; Academy Award and Tony Award-nominee Toni Collette ("Hostages," "United States of Tara," The Sixth Sense, The Wild Party), Golden Globe and Screen Actors Guild Award-winner Michael C. Hall ("Dexter," Chicago), Tony Award-winner Tracy Letts (Who's Afraid of Virginia Woolf?; August: Osage County; "Homeland"), and Academy Award-winner and Gold Globe-nominee Marisa Tomei (My Cousin Vinny; The Wrestler; Salome). The production is directed by Obie Award-winner Sam Gold, who was recently represented by Fun Home at the Public Theater.
This new American play comes to Broadway after a critically acclaimed run at the Yale Repertory Theatre in 2012. The Realistic Joneses is produced by Jeffrey Richards, Jerry Frankel, Jam Theatricals, Stacey Mindich, and Susan Gallin/Mary Lu Roffe.
Further details about this production will be announced at a later date.
In The Realistic Joneses, we meet Bob and Jennifer and their new neighbors John and Pony, two suburban couples who have more in common than their identical homes and their shared last names. As their relationships begin to irrevocably intertwine, the Joneses must decide between their idyllic fantasies and their imperfect realities. This contemporary comedy explores how our joys and sorrows - and how we choose to face them - can come to define our lives.
To some extent, Eno seems to be asking which of the Joneses is, in fact, realistic? Any of 'em? This is a play about confronting mortality for sure, which is what underscores the gobs of intellectual and linguistic stimulation that flows from the stage: Letts' Bob, for example, no longer sees the point of painting the house, given that it only has to be redone. That being what you do is no longer sufficient for him. Bob, for the record, has many more caustic zingers, even though the character barely has the energy to spit them out. Hall's John, meanwhile, keeps trying to talk risks of new enterprises and new ways to communicate (why not?), but he mostly flails. Of course. Death is a brick wall. But the play's emotional appeal - and this one, weird as it most surely is, has more of that than any Eno work to date - comes from its equal recognition of the stress of taking care of the ill, the dying, the declining, the angst-ridden...Gold clearly understands that Eno is a writer with heart and compassion (and a useful touch of insecurity).
Will Eno, theater's reigning prince of snarky anomie, has two new plays on in New York, one his Broadway debut, The Realistic Joneses, and one off, The Open House. His signature style--established with Thom Pain (based on nothing)--is deadpan wordplay. This off-kilter dialogue is even stranger when it's in the mouths of the starry cast: Marisa Tomei, Toni Collette, Tracy Letts and Michael C. Hall, who all turn in remarkable performances, given that they have to deliver lines that seem to defy all the expectations of coherent stage speech. Sam Gold directs the proceedings with an admirably straight face, although the audience found the play hilarious.
Videos