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Clybourne Park spans two generations fifty years apart. In 1959, Russ and Bev are selling their desirable two-bedroom at a bargain price, unknowingly bringing the first black family into the neighborhood (borrowing a plot line from Lorraine Hansberry's A Raisin in the Sun) and creating ripples of discontent among the cozy white residents of Clybourne Park. In 2009, the same property is being bought by a young white couple, whose plan to raze the house and start again is met with equal disapproval by the black residents of the soon-to-be-gentrified area. Are the issues festering beneath the floorboards actually the same, fifty years on? Bruce Norris's excruciatingly funny and squirm-inducing satire explores the fault line between race and property.
Clybourne Park is the winner of the 2011 Pulitzer Prize for Drama, and the winner of the 2012 Tony Award for Best Play.
- Sales Rank: #90255 in Books
- Brand: Brand: Faber Faber
- Published on: 2011-08-16
- Released on: 2011-08-16
- Original language: English
- Number of items: 1
- Dimensions: 8.24" h x .2" w x 5.52" l, .45 pounds
- Binding: Paperback
- 224 pages
- Used Book in Good Condition
Review
“A spiky and damningly insightful new comedy.” ―Ben Brantley, The New York Times
“Superb, elegantly written, and hilarious.” ―John Lahr, The New Yorker
“Courageous…Norris's elegantly structured play nails marital tensions as much as it does racial disharmony in an evening of ebullient provocation.” ―Lyn Gardner, The Guardian
About the Author
Bruce Norris is a writer and an actor whose Pulitzer Prize– and Olivier Award–winning play Clybourne Park premiered at Playwrights Horizons in January 2010. Other plays include The Infidel, Purple Heart, We All Went Down to Amsterdam, The Pain and the Itch, and The Unmentionables, all of which premiered at Steppenwolf Theatre. Norris is the recipient of the 2009 Steinberg Playwright Award and the Whiting Foundation Prize for Drama. He currently resides in New York.
Excerpt. © Reprinted by permission. All rights reserved.
Clybourne Park
CHARACTERSACT I (1959)ACT II (2009)Note: In the original production, the actor playing Jim and Tom also played the role of Kenneth. In some subsequent productions a separate actor was hired to play the role of Kenneth alone.Copyright © 2011 by Bruce Norris
Most helpful customer reviews
26 of 26 people found the following review helpful.
Deserving of Widespread Productions
By B. Silverberg
First of all, let me say that I'm glad to have purchased this book when it was selling at a price far more reasonable than the one it is being sold for at this writing. Apparently, the only edition currently available is the one published by the Royal Court Theatre in London, even though the play -- by a Chicago-based playwright -- was produced earlier by Playwrights Horizon in New York, where I was fortunate to have seen it last March.
Reading the play reminded me of how enjoyable it was to have seen, as images of the superb Off-Broadway cast repeatedly flashed in my memory. Mr. Norris' play presents a different perspective on Lorraine Hansberry's classic play "A Raisin in the Sun." While that masterwork focuses on the Youngers, a Black family in Chicago about to move to a new home in Clybourne Park, a previously all-white neighborhood, Act I of "Clybourne Park" takes place at the same time, 1959, in the house to which the Youngers are about to move. Hansberry's sole white character in "Raisin...", Karl Lindner, visits the home just after his attempt to talk the Youngers out of moving into his neighborhood. That attempt having failed, he now tries to persuade the Stollers, the family selling the house at below-market value, to revoke the offer. We gradually learn why the house is available at such a bargain rate, through scenes involving a quirky group of well-delineated characters. Norris skillfully combines serious themes with a good deal of humor, and provides all of the actors with very juicy roles.
This last continues to be true in Act II, which takes place fifty years later, in 2009, in the same house, now much changed. The same actors from Act I reappear in different roles, though some are in parallel relationships (e.g., married couples), and we soon realize how some of the Act II characters are connected to some whom we met in Act I. Norris cleverly shows us how the more things differ, the more they stay the same, as presumably "enlightened" characters prove to be even more uncivilized than their counterparts from half a century before. Once again, the characters are clearly drawn, and the dialogue is crisp and revealing. The play's conclusion merges the two acts neatly and theatrically.
"Clybourne Park" is an outstanding play which should be on the schedules of repertory companies all over the country.
12 of 12 people found the following review helpful.
Passage of time
By P. G. Springer
I like plays when there is a lapse of generations or decades between the first and second acts, like Cloud Nine and (in another way) Arcadia and various others. Clybourne Park does this extremely well, showing us racial and housing situations in Chicago with a gap of 50 years. Plays like this show is that every age thinks it is on top of it all, aware and understanding, when in fact we always live without awareness of what will come and our cleverness is sure to be surpassed by the future's own arrogance toward the past.
2 of 2 people found the following review helpful.
Strange, but oddly very good
By Mandy
Norris really does a great job of contrasting the views of racism in the 50's as compared to the views of racism in the modern day. You can distinctly see the differences in the way they talk, the way they act and react to one another's comments, the way they see the world. In act two, the issue of offense and what is and isn't offensive comes into the picture. It's a very well-done play. However, it only gets four stars from me for two reasons: 1. There are so many characters that it gets really confusing at times. They all talk in short, awkward sentences and there are times when everyone's talking at once. It really is supposed to be watched and listened to rather than read. 2. I didn't quite understand the significance of the ending, if there was any. Again, it might be different when I actually see it performed, but reading it left me baffled.
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