New in 2018 Joshua Jackson stars in a revival of the Tony-winning play that explores the relationship between an unorthodox speech therapist and one of his students, a young deaf woman hesitant to integrate herself into the hearing world.
From the producers: Stop assuming. Stop judging. Start listening. Winner of the Tony, Drama Desk, and Olivier Awards for Best Play, "Children of a Lesser God" tells the story of an unconventional teacher at a school for the deaf and the remarkable woman he meets there. As their relationship heats up, so does their need for control, igniting a thrilling exploration of passion, intimacy, and connection.
Following a highly successful run at the Mark Taper Forum in Los Angeles, "Children of a Lesser God" first opened on Broadway in March 1980 Longacre Theatre, where it ran for 887 performances. The production won 3 Tony awards, including Best Play. The play was adapted into a 1986 film starring Marlee Matlin (in an Oscar-winning performance) and William Hurt, receiving five Academy Award nominations. It was also the first ever female-helmed film to be nominated for an Academy Award in the Best Picture category.
Audience Note: For select performances, an ASL translator will be present to translate the play's spoken dialogue. Below are the currently scheduled ASL interpreted performances: 3/27 eve, 3/31 mat, 4/25 eve, 5/11 eve, 6/13 mat, 6/15 eve, 7/5 eve, 7/21 eve, 8/8 mat and 8/30 eve.
Tony-winner Kenny Leon ("A Raisin in the Sun," "Fences") directs a cast that includes Joshua Jackson ("Dawson's Creek," "The Affair"), Lauren Ridloff ("Wonderstruck") and Emmy and Golden Globe Award winner Anthony Edwards ("ER," "Top Gun"). Drama Desk nominee Kecia Lewis ("Dessa Rose"), Julee Cerda, Treshelle Edmond, and John McGinty round out the cast.
[The] show is at times inaccessible or awkward for the hearing - which is maybe the most thematically resonant technical flaw ever to afflict a play. Leon's direction leans into the play's age as well as its loose plotting. And yet [the] chemistry is undeniable. Ridloff is not only a great silent actress but also a fantastic flirt. Jackson has to work a little harder (mostly with success) to expose the tender heart of a character with more contradictions. Logistical concerns vanish in the play's best moments.
[The play] struggles at times to relay a clear message of its own. [Jackson's] efforts pay off for the most part; his performance loosens as it goes and is especially noteworthy in the second act. Ridloff, however, is downright powerful from the moment she signs her first sentence. The presence of technology and the stark, modern set may confuse some...the most lasting impression of the show is its two standout performances instead.