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“GARY” TO PLAY ITS FINAL PERFORMANCE ON SUNDAY, JUNE 16
Last Edit: Official_Press_Release 11:03 am EDT 06/11/19
Posted by: Official_Press_Release 11:02 am EDT 06/11/19

"GARY: A SEQUEL TO
TITUS ANDRONICUS"

A NEW COMEDY BY TAYLOR MAC
WILL PLAY ITS FINAL PERFORMANCE
ON SUNDAY, JUNE 16


New York, NY (June 11, 2019) - Gary: A Sequel to Titus Andronicus, the new comedy by Pulitzer Prize finalist and MacArthur Fellow, Taylor Mac will play its final performance on Sunday, June 16. Gary: A Sequel to Titus Andronicus began previews on Monday, March 11, 2019 and opened on Sunday, April 21, 2019 at the Booth Theatre (222 West 45th Street). At the time of its closing, it will have played 45 preview performances and 65 regular performances.

Directed by five-time Tony Award winner George C. Wolfe, Gary stars three-time Tony Award winner Nathan Lane, Tony Award nominee Kristine Nielsen, and Tony Award winner Julie White.

Gary: A Sequel to Titus Andronicus received seven 2019 Tony Award nominations, including Best Play, Best Director (George C. Wolfe), Best Featured Actress in a Play (Kristine Nielsen and Julie White), Best Scenic Design of a Play (Santo Loquasto), Best Costume Design of a Play (Ann Roth), and Best Lighting Design of a Play (Jules Fisher & Peggy Eisenhauer).

In Gary, Taylor Mac's singular world view intersects with Shakespeare's first tragedy, Titus Andronicus. In Mac's extraordinary new play, set during the fall of the Roman Empire, the years of bloody battles are over. The civil war has ended. The country has been stolen by madmen, and there are casualties everywhere. And two very lowly servants - Lane and Nielsen- are charged with cleaning up the bodies. The year is 400 - but it feels like the end of the world.

The creative team includes four-time Tony Award winner Loquasto (Scenic Design), Tony and Academy Award winner Roth (Costume Design), nine-time Tony Award winner Fisher & three-time Tony Award winner Eisenhauer (Lighting Design), Danny Elfman (Original Music), and Bill Irwin (Movement).




Critic's Pick! "Nothing says Broadway like a luscious red show curtain. But look closer: This one, designed by Santo Loquasto, isn't merely red. It's blood red, speckled with filth and bedazzled with sparkly rosettes. Welcome to the world of 'Gary,' where carnage and camp coexist - if not exactly in peace, then in a constructive dialect. The unlikeliest bird to land on Broadway in many a year, 'Gary' is like Taylor Mac himself, fabulous and bedraggled: a defiant and beautiful mess. Fool and clown at once, Taylor Mac throws all kinds of seemingly incompatible ideas into the mix, confident that if they are all true, they will make something truer. 'Gary' finds hope and humor on a pile of corpses. In the hostile ecosystem of Broadway, I don't know whether 'Gary' will last as long as 'Titus Andronicus' - a play I don't like but that has hung around for more than 400 years. But, strange bird or not, I'm so glad it's here. Not everything perfect is true, and not everything messy isn't."
Jesse Green, The New York Times

"'Gary' is ribald and wondrous, gruesome and hilarious about the ways in which American history repeats its cycles of progress and retrenchment. Through the sheer force of his ingenuity and joy, and mind-bending virtuosity, Taylor Mac takes devastation and makes something new. If still we had brilliant Shakespearean fools at court, I would nominate Taylor Mac to be ours."
Sasha Weiss, The New York Times

"A breathless farce, a political gut-punch, a meditation on our penchant for violence and our reverence for classical drama, a vigorous mash-up of high- and lowbrow (imagine the 'Approval Matrix' … all squished together), and a defiant, art-forward beacon of hope. A captivating masterpiece of verbal and physical lunacy, a downtown play frolicking subversively inside an uptown theater. 'Gary's' got heart and brains and guts (many, many guts)."
Sarah Holdren, New York

"'Gary,' directed with anarchic energy by George C. Wolfe, is a delirious collision of high and low, and a passionate call for resistance. It's a sign of new life on Broadway."
Tim Teeman, The Daily Beast
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