Manhattan Theatre Club, Lynne Meadow Artistic Director and Barry Grove Executive Producer have just announced the American premiere of the London Theatre Company Nicholas Hytner and Nick Starr production of My Name is Lucy Barton starring Laura Linney Lillian Hellman's The Little Foxes, 'Ozark', by Elizabeth Strout Olive Kitteridge, adapted by Rona Munro The James Trilogy, and directed by Richard Eyre The Crucible, Notes on a Scandal as part of Manhattan Theatre Club's upcoming 2019-2020 season. The New York production will be produced in association with Penguin Random House Audio.
- 4/29/2019
- by BWW News Desk
- BroadwayWorld.com
Laura Linney will return to Broadway next year in the American premiere of My Name is Lucy Barton, the hit 2018 London Theatre Company production of a solo play based on the novel by Elizabeth Strout, adapted by Rona Munro and directed by Richard Eyre.
The play will debut as part of Manhattan Theatre Club’s upcoming season, with previews beginning Monday, Jan. 6, 2020, at Mtc’s Samuel J. Friedman Theatre on Broadway. Opening night is Jan. 15.
Linney plays Lucy Barton, “a woman who wakes after an operation to find – much to her surprise – her mother at the foot of her bed,” as described by Mtc. “They haven’t seen each other in years. During their days-long visit, Lucy tries to understand her past, works to come to terms with her family, and begins to find herself as a writer.”
The creative team for My Name is Lucy Barton includes Bob Crowley...
The play will debut as part of Manhattan Theatre Club’s upcoming season, with previews beginning Monday, Jan. 6, 2020, at Mtc’s Samuel J. Friedman Theatre on Broadway. Opening night is Jan. 15.
Linney plays Lucy Barton, “a woman who wakes after an operation to find – much to her surprise – her mother at the foot of her bed,” as described by Mtc. “They haven’t seen each other in years. During their days-long visit, Lucy tries to understand her past, works to come to terms with her family, and begins to find herself as a writer.”
The creative team for My Name is Lucy Barton includes Bob Crowley...
- 4/29/2019
- by Greg Evans
- Deadline Film + TV
Laura Linney is treading the London boards this month, playing the title character—in fact, the only character—in Rona Munro’s one-woman adaptation of Elizabeth Strout’s Booker Prize-longlisted novel My Name is Lucy Barton at the Bridge Theatre. Surprisingly, it’s the first time this theater veteran has appeared on the London stage, and it’s a whole new challenge as she effortlessly commands 90 minutes on stage alone. It reteams her with director Richard Eyre, with whom she last worked on a 2002 revival of The Crucible at the Virginia Theatre in New York. A little over a year ago, she was on the Broadway stage in The Little Foxes alongside Cynthia Nixon, and both plays have received stellar notices.
In between, of course, she shot the upcoming second season of Netflix’s Ozark, alongside Jason Bateman. As Wendy Byrde, Linney plays the family matriarch who is, at turns,...
In between, of course, she shot the upcoming second season of Netflix’s Ozark, alongside Jason Bateman. As Wendy Byrde, Linney plays the family matriarch who is, at turns,...
- 6/19/2018
- by Joe Utichi
- Deadline Film + TV
Stories have a way of opening up on a stage. Elizabeth Strout’s bestselling novel “My Name Is Lucy Barton” looks, at first glance, like a curious choice for a theatrical adaptation. It’s ruminative, reflective, and all but becalmed: a bedbound writer’s hazy recollections looking back on her life. There’s little action, still less drama, scant theatricality. And yet, in Richard Eyre’s understated staging, exquisitely performed by Laura Linney, its stillness and slowness come to seem like strengths. Lucy Barton’s personal meditation blossoms into something bigger than itself – a portrait of America, perhaps even of history as a whole.
“My Name Is Lucy Barton” is, as its title suggests, a search for identity. Laid up in a Manhattan hospital bed, battling a life-threatening illness after a routine appendix operation, its protagonist reaches for a sense of herself. She’s lost enough weight that her reflection has changed,...
“My Name Is Lucy Barton” is, as its title suggests, a search for identity. Laid up in a Manhattan hospital bed, battling a life-threatening illness after a routine appendix operation, its protagonist reaches for a sense of herself. She’s lost enough weight that her reflection has changed,...
- 6/7/2018
- by Matt Trueman
- Variety Film + TV
The Us actor tells how a new adaption of Elizabeth Strout’s My Name Is Lucy Barton chimes with our uncertain times
Mid-morning in Brooklyn, New York and grey clouds are scudding across the sky above St Ann’s Warehouse – a state-of-the-art performance and rehearsal space that was once a tobacco warehouse. Inside, a fabulous model of an angel is suspended from the ceiling, and beyond its windows the East River is getting on with its day. Laura Linney is said to be running late and when she arrives she walks in briskly without any diva-esque hauteur. She is all apologies, smiles, grace. She sits down on a circular leather banquette in the foyer and tucks her knees beneath her. She is casually dressed but with a black-and-white scarf for extra flourish. She looks comfortable in her own skin. At 54, there is a much younger woman visible in her face...
Mid-morning in Brooklyn, New York and grey clouds are scudding across the sky above St Ann’s Warehouse – a state-of-the-art performance and rehearsal space that was once a tobacco warehouse. Inside, a fabulous model of an angel is suspended from the ceiling, and beyond its windows the East River is getting on with its day. Laura Linney is said to be running late and when she arrives she walks in briskly without any diva-esque hauteur. She is all apologies, smiles, grace. She sits down on a circular leather banquette in the foyer and tucks her knees beneath her. She is casually dressed but with a black-and-white scarf for extra flourish. She looks comfortable in her own skin. At 54, there is a much younger woman visible in her face...
- 5/27/2018
- by Kate Kellaway
- The Guardian - Film News
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