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A NUMBER by Caryl Churchill

in rep with

'NIGHT, MOTHER by Marsha Norman

Two plays about family- one unforgettable event.

A NUMBER is a beguiling hour-long psychological thriller that blends the controversial topic of cloning with a stunning portrait of the relationship between a father and his sons. 'NIGHT, MOTHER is an eloquent, enthralling and ultimately shattering short play that explores the final hour in the life of a young woman who has decided that life is no longer worth living.

Your ticket price includes admission to both plays.

TSP Main Stage - January 5-20, 2019
64 East 4th Street, Underground Space, NYC

Ticketing Is Now Open - Click to Purchase

Synopsis for A NUMBER:

Winner of the Evening Standard Award for Best Play  

Caryl Churchill's A NUMBER is a play that explores the issue of human cloning through the relationships between a father and his three sons. A tight two-hander taking place in a not-too-far off future, Churchill's play is a philosophical investigation into free will and the question of nature versus nurture.


Synopsis for 'NIGHT, MOTHER:

Winner of the 1983 Pulitzer Prize for Drama, Tony Award nominee for Best Play.

The play begins with Jessie calmly telling her Mama that by morning she will be dead, as she plans to commit suicide that very evening. The subsequent dialogue slowly reveals Jessie's life with Mama and the reasons for her decision, culminating in a disturbing, yet unavoidable, climax.


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Salter   Michael Stephen Clay
B1 / B2 / Michael Black   Brandon Walker*
Director   Erin Cronican
Mama   Carla Brandberg*
Jessie   Erin Cronican*
Director   Brandon Walker
Stage Management   Mackenzie McGuire
Lighting Design   Joyce Liao
Sound Design   Brandon Walker
Scenic & Costume Design   Erin Cronican
* indicates member of Actors' Equity Association


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Production Photos - Click for Slideshow


(Photos by Russ Rowland.)




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Articles about A NUMBER and 'NIGHT, MOTHER:


Broadway World - "The Seeing Place Previews A NUMBER/'NIGHT MOTHER Starting January 5"


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Reviews and Audience Response for A NUMBER and 'NIGHT, MOTHER:


"The Seeing Place Theater presents two masterful plays that highlight parent child relationships. Both plays have something to say about grief, mental health, and how the desire to connect can affect a person’s life...the pairing of these two plays makes for an intriguing evening of theatre, and demonstrates the unified vision of The Seeing Place Theater." -Virginia Jimenez, Times Square Chronicles

"Night, Mother is a resonate deep unforgettable play...Director Brandon Walker had the two characters always keeping us interested. " - Robert Massimi, Gotham Review

"The Seeing Place presents two hard-hitting two-handers in rep in an intriguing study of  parent/child relationships...Clay is intriguing as the father confronted in a pack of lies -- and emotions --  while Walker portrays a number of the clones confronting Salter...Brandberg is engaging, personifying both a woman oblivious to her daughter's emotions as well as a mother who loves her daughter and who is at a loss to help. Cronican's matter-of-fact delivery of Jessie's gut-wrenching lines adds to the building terror as we  -- and Mama -- realize she's serious about ending it all. It's a nice pairing of works nicely presented on a set that works for both." - Lauren Yarger, Reflections in the Light

"The Seeing Place offers you even more bang-for-your-buck, producing two engaging performances in a doubleheader they call A Number/Night Mother. In Caryl Churchill’s A Number, Brandon Walker conveys three distinct personalities as a trio of identical twins with an interesting twist: two of them are clones, and the three were separated at birth, so to speak. Michael Stephen Clay completes this cast of two as the clones’ father, Salter: a stoic antihero not afraid to take the blame for his past mistakes, including the mistake he made trying to rectify a mistake, which itself was understandable given the hardship of his circumstances. In Marsha Norman’s ’ Night, Mother, Carla Brandberg stars as the mother of a epileptic named Jessie who’s just announced that she’s going to kill herself this evening. For the performance we attended, Erin Cronican deserved a medal for her performance as Jessie, as she persevered through the role with real-life bronchitis! The show must go on, folks, and truth be told, Cronican’s struggling voice may have actually accentuated her ability to convey the desperation of her character." - Andrew Andrews, Opplaud

"Heads up theatre folks. See some straight up dedicated and solid actors at The Seeing Place Theater in NYC now thru Sun. 1/20. Just saw last nite. Enthralling and thrilling double bill of one acts. Don't miss this. " - Soiree Fair, via Facebook

"See it if you know this theatre company and enjoy their work, or if you want to see two short pieces done exceedingly well given the limits of space. I've been aware of The Seeing Place for several years and always try to see whatever they are doing. They NEVER disappoint, contrary to many of their uptown confreres. This is theatre as theatre should be--raw and emotional when it needs to be, and never pandering or patronizing. This latest offering is quite compelling, and I'm glad I got to see the Churchill piece--this is probably the only time/place it will be done in my lifetime. I have seen the Norman piece when it was on Broadway, and so feel quite qualified to say that despite knowing the ending, it was still thrilling to watch. If you don't know this group, resolve now to get over to the East Village to see the magic they can create with minimal everything. You won't be disappointed." - Jacqueline Parker, Show Score

"Absorbing, Great acting, Intelligent, Riveting, Great writing - These are by two well-known women playwrights. Serious plays, good acting, in a small theatre. Rather suspenseful. I was interested to see these plays by two women playwrights whose other work I had admired, and I wasn’t disappointed. Surprisingly well done for such a small theatre; I enjoyed these very much. I saw night Mother by Marsha Norman (Amer. b. 1947) when it was first produced on Broadway in 1983, and this was every bit as good. The small theatre perhaps adds to its claustrophobic atmosphere. I had never seen A Number by Caryl Churchill (Brit. b. 1938), first produced in 2002, in London, England. The main actor here just blew me away. He was so compelling in the three roles he plays, each so different from the other that it was hard to believe it was the same actor." - Eleanor 9011, Show Score

"Absorbing, Great acting, Intelligent, Intense, Resonant - See it if intimate plays in intimate space appeal; to support fine actor-director-producers & their mission to deliver meaningful work affordably. Go! [These are] intense two handers that will stay with you long after you leave the theatre." - Alice 6119, Show Score

"Absorbing, Thought-provoking, Relevant, Resonant, Entertaining - See it if you are interested in family complicated relationships and wonderful acting. Small venue where it feels you are in the room with the actors" - Lisa Rentz, Show Score

"Absorbing, Intense, Masterful, Riveting - See it if you want to see two really well produced plays by noted playwrights that has something each to say about family & what others mean to us." - Suzanne J, Show Score

"Absorbing, Great acting, Intelligent, Intense, Great writing - See it if you’re looking for beautifully written dramatic experiences that are well done for smaller productions." - Charles 7121, Show Score

"Absorbing, Edgy, Great acting - These two one-acts are worth seeing. The acting is good and the scripts are engaging. Plays about the human condition...Smart and timely..." - Leonardo 8149, Show Score

"Absorbing, Masterful, Must see - 2 terrific plays that make a good set. A couple of fabulous actors... Support this small theater co!" - Gwyn, Show Score


Click here to see all Show Score reviews...


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