Judgment Day

Description

You lie there in the dark and the thoughts won't stop - you think of everything you could have done better... A meticulous and respected stationmaster struggles to overcome his guilt when he finds himself suddenly culpable for a violent train crash that results in eighteen deaths. As the community come together to grieve, they succumb to a mob mentality that threatens to ostracize anyone who challenges the collective definition of morality and truth. An intriguing hybrid of theatrical genres, OEdoen von Horvath's 1937 play is part moral fable, part socio-political commentary and part noir-ish thriller. Adapted by Obie Award-winner and Pulitzer Prize nominee Christopher Shinn, this thrilling new take on a classic play asks contemporary questions that resonate in our current political climate. This edition was published to coincide with the world premiere at New York's Park Armory in December 2019.

Christopher Shinn (b. 1975) is an American playwright from New York. His plays include Now or Later (shortlisted for the Evening Standard Theatre Award for Best Play), Dying City (Pulitzer Prize finalist), Where Do We Live (winner of an Obie in Playwriting), An Opening In Time, Teddy Ferrara, Picked, Four, What Didn't Happen, On the Mountain, Other People, and The Coming World. His adaptation of Hedda Gabler premiered on Broadway (American Airlines Theatre), and he has written short plays for Naked Angels (Democracy Project), the 24 Hour Plays on Broadway, the Bush Theatre (Sixty-Six Books), and Headlong (Decade). His work has been premiered by Lincoln Center Theater, Manhattan Theatre Club, Playwrights Horizons, the Vineyard Theatre, South Coast Rep, the Goodman, the Royal Court, and the Soho Theatre, and later produced around the world. Christopher Shinn's awards include a Guggenheim Fellowship in Playwriting, a grant from the NEA/TCG Residency Program, an Obie in Playwriting and the Robert Chesley Award.

A playwright who writes with unshowy depth and unforced menace on a challenging subject * New York Magazine * Mr Shinn sees and hears people as they are, and his greatest strength is his ability to reproduce onstage the clumsy poetry of natural human interaction. That skill is rarer than you might think. * New York Times *