I Was Most Alive with You (TCG Edition)

Description

Ash, a recovering alcoholic and addict, has resolved to view the difficulties in his life as a blessing. His son Knox, who is deaf and is also an addict, has similarly chosen to accept his own adversities as gifts. But when Ash, Knox, and the people they love begin to experience an onslaught of misfortunes, their faith is tested in unimaginable ways. Intended to be performed simultaneously in English and ASL by two casts, this is a powerful play that tackles difficult questions of agency and fate in the face of a seemingly cold and indifferent world.

Craig Lucas is a playwright, screenwriter and director of both theater and film. His plays include Prayer for My Enemy, Small Tragedy, Three Postcards, Missing Persons, Prelude to a Kiss, God's Heart, The Dying Gaul, Stranger, The Singing Forest, and Ode To Joy, among others. He wrote the book for the musicals The Light in the Piazza, Two Boys, Orpheus in Love, and Amelie. Lucas's screenplays include Longtime Companion, The Secret Lives of Dentists, Reckless, Blue Window, Prelude to a Kiss, and The Dying Gaul. He has directed the plays The Light in the Piazza, This Thing of Darkness (coauthored with David Schulner), Saved Or Destroyed, Play Yourself, Ode to Joy; and the films The Dying Gaul and Birds of America. Lucas has been a Pulitzer Prize finalist, won three Obie awards, and received three Tony nominations. He is the recipient of the Excellence in Literature Award from the American Academy of Arts & Letters.

A sensitive synthesis of ancient wisdom and modern sensibilities.-- "Theatermania" Applying the Book of Job's queries to a modern family's tale of disconnect, struggle, and redemption, playwright Craig Lucas articulates the fragility and hope of our shared existence.-- "Theatre is Easy" It has always been Mr. Lucas's gift to reveal the awfulness behind things that look charming and to make that awfulness compelling. In I Was Most Alive With You, he takes those gifts about as far as they can go.--Jesse Green "New York Times"