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Winner of the 2016 Tony Award for Best Play
Finalist for the 2016 Pulitzer Prize for Drama
Winner of the Outer Critics Circle Award for Outstanding New Broadway Play
Winner of the New York Drama Critics’ Circle Award for Best Play
“THE BEST PLAY OF THE YEAR” --The New York Times, The Washington Post, New York Magazine,
Chicago Tribune, The Hollywood Reporter, Time Out New York, NPR
"Drawn in subtle but indelible strokes, Mr. Karam's play might almost qualify as deep-delving reportage, so clearly does it illuminate the current, tremor-ridden landscape of contemporary America. The finest new play of the Broadway season so far — by a long shot."—Charles Isherwood, The New York Times
Breaking with tradition, Erik Blake has brought his Pennsylvania family to celebrate Thanksgiving at his daughter's apartment in lower Manhattan. Unfolding over a single scene, this "delirious tragicomedy" (Chicago Sun-Times) by acclaimed young playwright Stephen Karam "infuses the traditional kitchen-sink family drama with qualities of horror in his portentous and penetrating work of psychological unease" (Variety), creating an indelible family portrait.
Stephen Karam's plays include Speech & Debate and Sons of the Prophet, a finalist for the 2012 Pulitzer Prize and the winner of the 2012 Drama Critics Circle, Outer Critics Circle, Lucille Lortel and Hull-Warriner awards for Best Play. Born and raised in Scranton, Pennsylvania, he now lives in New York City, New York.
- Sales Rank: #9395 in Books
- Published on: 2016-05-10
- Original language: English
- Dimensions: 8.40" h x .60" w x 5.40" l, .0 pounds
- Binding: Paperback
- 164 pages
Review
"A middle-class family seems to be spiraling toward perilous entropy in The Humans, the blisteringly funny, bruisingly sad and altogether wonderful play by Stephen Karam … Written with a fresh-feeling blend of documentarylike naturalism and theatrical daring…Mr. Karam’s comedy-drama depicts the way we live now with a precision and compassion unmatched by any play I’ve seen in recent years.
… The Humans is a major discovery, a play as empathetic as it is clear-minded, as entertaining as it is honest. For all the darkness at its core — a darkness made literal in its ghostly conclusion — a bright light shines forth from it, the blazing luminescence of collective artistic achievement."
--Charles Isherwood, The New York Times
"Great plays are usually great in one of two ways. Either they are culminating examples of existing ideas, or groundbreaking examples of new things entirely.
… The Humans, it turns out, is not just one of those culminating genre pieces but also, at the same time, one of those “new things entirely.” Into the familiar dinner-table-drama genre the playwright has mixed the unexpected element of terror — or, rather, he has created a new element by bombarding one with the other. I should add that, for all this, the play is rackingly funny even as it pummels the heart and scares the bejesus out of you."
--Jesse Green, New York Magazine
“…what is so amazing about The Humans (and this is a really amazing new play) is that while Karam's writing never romanticizes these characters nor minimizes the struggles of those who find themselves lower-middle class and older in years in today's increasingly elitist and divisive America, he focuses on their connections with each other. You watch them drive each other crazy, but you also want them at your own dinner, quite badly. You'll be surprised how much.
It is hard to think of another play that has dealt with these realities of life as it is lived in ordinary America — that faraway country Broadway so often chooses to ignore in favor of the bourgeoisie problems of one of the Upper Sides — with such compassion.
Few writers of his generation have achieved anything quite like The Humans, a play about the horrors of ordinary life and the love we need to counter them.”
--Chris Jones, The Chicago Tribune
"The Humans is the sort of impeccably constructed play that should be a regular inhabitant on Broadway, not the occasional, surprising guest. You’ll be glad you’ve been invited into the company of the Blakes, who themselves may fall short of glamorous but nevertheless help class up the whole darn neighborhood." Peter Marks, --The Washington Post
“…beautifully wrought... Having limned The Humans with gorgeous naturalism, Karam boldly forces us into a world beyond the familiar.”
--Adam Feldman, Time Out NY
“There is so much love, dread, and tenderness in The Humans that it is hard to believe just 90 minutes pass through Stephen Karam’s deeply-felt family tragicomedy. Beautifully wrought… The Humans burrows into the lives of an Irish-American family with wit, tenderness and blistering brutality.”
--Linda Winer, Newsday
“Karam, whose flair for character and context was evident in the 2012 Pulitzer Prize finalist Sons of the Prophet, isn't interested in a polemic. The Humans rather considers the trials its highly imperfect subjects face in a highly imperfect world, and resolves, without ever approaching sentimentality, that love is nonetheless resilient.”
--Elysa, Gardner, USA Today
“It is an absolute triumph.” --Mark Kennedy, Associated Press
“A play of uncommon strengths; fresh, funny, piercing and perceptive. The Humans isn’t just a family portrait – it’s a mirror. Karam has an eye for detail on a near cellular level, an ear for authentic dialogue and a superlative ability to balance laughter and sorrow.” --Joe Dziemianowicz, New York Daily News
“The formula for a family-reunion play goes like this: Multiple generations of a clan get together for a holiday, air their dirty laundry at dinner, start fighting over dessert and at the end of the day are weary of battle. Stephen Karam’s warm-hearted play The Humans follows the formula, but only to the point of exposing everybody’s secrets. Instead of erupting in bitter hatred, Karam’s characters respond to these revelations with deep love. That alone should keep this lovely play, an Off Broadway transfer, running in its inviting new Broadway house until kingdom come.”
--Marilyn Stasio, Variety
“… a quietly stunning new play by Stephen Karam…
the beat-by-beat honesty, wit and intelligence of the writing kept me alert to every changing nuance. It has completely earned its place on the Broadway stage; and does so without the supposed benefit of star casting. What will sell it is the play itself.” --Martin Shenton, The Stage
“The Humans, which arrives on Broadway after an acclaimed off-Broadway run last fall, is a funny, mournful, richly detailed and deeply humane study of a beleaguered family celebrating Thanksgiving dinner in a tumbledown Chinatown apartment. Menu aside, it is no turkey.” --Alexis Soloski, The Guardian
“This is your life… and it is petrifying. We feel a tidal wave of emotion at The Humans. It is painfully uncanny – so much so that you won’t be able to look away. Never has there been a more realistic encapsulation of the electricity generated when multiple generations come together under one roof.”
--Zachary Stewert, Theatremania
"There’s no plate-smashing moment that you see in more histrionic family-gathering dramas (all the flatware in Brigid’s apartment is plastic anyway). Each of the Blakes, even Momo, are masking major tragedies in their lives, but even those are revealed in ways that feel utterly unforced. Some moments are absolutely devastating — but it’s unfair to label the play as simply “depressing,” because it’s depressing in the way life is depressing and hilarious in the way life is hilarious…
Karam’s transcendently mundane play is a reminder that family dinner dramas can still be surprising — and they doesn’t need ghosts or things that go bump in the night to achieve that. Real life is scary enough."
--Stephan Lee, Entertainment Weekly
About the Author
Stephen Karam is the author of Sons of the Prophet, a finalist for the 2012 Pulitzer Prize and the recipient of the 2012 Drama Critics Circle, Outer Critics Circle, Lucille Lortel and Hull-Warriner Awards for Best Play. Other plays include Speech & Debate, the inaugural production of Roundabout Underground; columbinus (New York Theatre Workshop); and the libretto for Dark Sisters, an original chamber opera with composer Nico Muhly. Stephen is a MacDowell Colony fellow and the recipient of the inaugural Sam Norkin Off-Broadway Drama Desk Award. He teaches graduate playwriting at The New School. He grew up in Scranton, PA and is a graduate of Brown University. (2014-02-25)
Most helpful customer reviews
3 of 3 people found the following review helpful.
“Don’tcha think it should cost less to be alive?”
By Frank Hering
“Don’tcha think it should cost less to be alive?” That line, which concludes the father's speech to his daughter's new live-in boyfriend, captures much of what this play is about. Karam gets at the financial stress that burdens the middle-class in this period of stagnation. Jobs and pensions lost, dead-end jobs stoically endured for decades, caring for an aging parent while still holding down full-time jobs, etc. Karam shows the interconnections between these economic woes and the social and psychological burdens the family members also face: allegiance to one's childhood faith, struggles with weight, chronic health issues, the fear of NYC after 9-11, recovering from depression, use of anti-depressants, class differences, the importance of marriage, etc. Karam wonderfully avoids hitting one over the head with any of these issues; instead, they are subtly (and often humorously) invoked during conversations. What Karam doesn't make a conflict is also significant; we see here a family that has no problem with their daughter's/sister's homosexuality. Instead, each is incredibly supportive (mom even brings up scissoring during dinner). Nor is the young woman's depression due to her sexuality; instead, Karam suggests it has to due with the intersection of her ulcerative colitis and her worries about finding a new partner for life.
Karam tackles these issues through comedy-drama instead of tragedy. This family supports one another, but they can also make some great jokes about each other. I haven't seen this on-stage yet, but Karam gives a good amount of text that is supposed to be conveyed non-verbally, and comedic actors and directors could do a lot with this. This comedy in the face of financial, social, and psychological burdens, along with the family members' support and lack of hate for one another, characterize this play. Other key characteristics include the set design (kind of a cross-section of the two floors and four rooms of this apartment, where action often occurs simultaneously) and the use of what Freud calls the uncanny (which Karam quotes as an epigram to the book). The use of the uncanny (think "hauntings") comes to a head at the very end of the play and is surprisingly nicely in tension with the incredible realism of the set (including the noises old apartments make) and the dialogue (characters often leave lines unfinished and interrupt each other).
I would highly recommend reading this play, and I can't wait to see it performed.
11 of 12 people found the following review helpful.
Fully Human & Totally Convincing
By Tina Martin
What a totally convincing and compassionate play--a family of people struggling but still managing to be loving to one another.
1 of 1 people found the following review helpful.
Excellent
By Bruce B. Brown
THE HUMANS is everything the critics said it was. It is heartwarming, sad, funny, and scary all mixed together. I read this play and can see my own family having these discussions at Thanksgiving or Christmas. What an outstanding play.
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