A timely and gripping Broadway premiere from Tony Award® nominee Dominique Morisseau (Ain’t Too Proud, Pipeline). In 2008 Detroit, a small automotive factory is on the brink of foreclosure, and a tight knit family of workers hangs in the balance. With uncertainty everywhere, the line between blue collar and white collar becomes blurred, and this working family must reckon with their personal loyalties, their instincts for survival and their ultimate hopes for humanity. The New York Times gives this astonishing work a Critic’s Pick and cheers, “A very fine new play… warm-blooded, astute, deeply moral and deeply American.” And The Amsterdam News hails it as “a prime example of how theatre imitates life… intense, touching and funny.” Directing is MTC’s Tony-winning Artistic Advisor Ruben Santiago-Hudson (Lackawanna Blues, August Wilson’s Jitney).
When Shanita (a warm, affable Adams) talks about why she takes pride in her job - saying, 'I'm building something that you can see come to life at the end. Got a motor in it and it's gonna take somebody somewhere' - it is moving and commands your respect. That is perhaps why Skeleton Crew hits more potently now than it did in 2016 for me. When society shut down in 2020, we all saw who the true essential workers are. They are not the CEOs or people who worked in glass high-rises. They are the people stocking grocery store shelves, delivering packages, making cars. And they are disproportionately people of color. Society has now caught up with Morisseau's play. In Skeleton Crew, Morisseau makes us see the line that divides the blue collar and white collar workers as what it really is, a man-made structure that must be dismantled, because it is that line that keeps all of us from realizing our true power.
'Skeleton Crew' resolves the conflicts and tensions that arise in an appropriately understated key: Although revelations come, the play does not rise to a dramatic confrontation between workers and supervisor over the fate of their jobs. This, one assumes, is Morisseau's express intent. For the many thousands of workers whose formerly secure jobs evaporated as much auto manufacturing moved out of Detroit, the end came not with a sudden bang, as of a car backfiring, but with a sad, despairing whimper - to extend the metaphor, the sound of a tire going flat.
2022 | Broadway |
Original Broadway Production Broadway |
West End |
West End |
Year | Ceremony | Category | Nominee |
---|---|---|---|
2022 | Drama Desk Awards | Outstanding Actor in a Play | Brandon J. Dirden |
2022 | Drama Desk Awards | Outstanding Actress in a Play | Phylicia Rashad |
2022 | Drama Desk Awards | Outstanding Featured Actor in a Play | Joshua Boone |
2022 | Drama Desk Awards | Outstanding Revival of a Play | Skeleton Crew |
2022 | Drama League Awards | Distinguished Performance Awards | Phylicia Rashad |
2022 | Drama League Awards | Outstanding Revival of a Play | Skeleton Crew |
2022 | Outer Critics Circle Awards | Outstanding Director of a Play | Ruben Santiago-Hudson |
2022 | Outer Critics Circle Awards | Outstanding Featured Actor in a Play | Brandon J. Dirden |
2022 | Outer Critics Circle Awards | Outstanding Featured Actress in a Play | Chanté Adams |
2022 | Outer Critics Circle Awards | Outstanding Featured Actress in a Play | Phylicia Rashad |
2022 | Outer Critics Circle Awards | Outstanding New Broadway Play | Skeleton Crew |
2022 | Tony Awards | Best Performance by an Actress in a Featured Role in a Play | Phylicia Rashad |
2022 | Tony Awards | Best Play | Skeleton Crew |
2022 | Tony Awards | Best Scenic Design of a Play | Michael Carnahan |
2022 | Tony Awards | Best Scenic Design of a Play | Nicholas Hussong |
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