Gloria: A Life (TCG Edition)

Emily Mann

• Publisher: Theatre Communications Group
• ISBN:
  9781559369237
• Topic: Literature
• Subtopic: Drama
• Index: Literature

Five decades after Gloria Steinem began raising her voice for equality and championing the voices of others, she remains a lodestar for the American feminist movement. Emily Mann’s new play traces the progress of Steinem’s extraordinary life, including her time at Smith College, her undercover Playboy exposé, her mother’s breakdown, the founding of Ms. magazine, and her deep involvement in the women’s movement as an activist and organizer. This is a timely work that shows how Steinem’s leadership and dedication to conversation as a catalyst for change continues to offer a vital path forward in our present time.

GLORIA:

A LIFE

PRODUCTION HISTORY

Gloria: A Life was commissioned by Lincoln Center Theater by special arrangement with Daryl Roth. It was produced by Daryl Roth, Jenna Segal, Elizabeth Armstrong, Fearless Productions, Sally Horchow, and Alix L. L. Ritchie. It had its world premiere at the Daryl Roth Theatre in New York on October 18, 2018. It was directed by Diane Paulus. The scenic design was by Amy C. Rubin, the costume design was by Jessica Jahn, the lighting design was by Jeanette Oi-Suk Yew, the sound design was by Robert Kaplowitz and Andrea Allmond, the projection design was by Elaine J. McCarthy; the production stage manager was Ana M. Garcia. The cast was:

GLORIA	Christine Lahti
ENSEMBLE	Joanna Glushak, Fedna Jacquet, Francesca Fernandez McKenzie, Patrena Murray, DeLanna Studi, and Liz Wisan

Gloria: A Life was produced by McCarter Theatre Center (Emily Mann, Artistic Director and Resident Playwright; Michael S. Rosenberg, Managing Director) in Princeton, New Jersey, on September 14, 2019. It was restaged for McCarter by Emily Mann based on original direction by Diane Paulus. The scenic design was by Amy C. Rubin, the costume design was by Jessica Jahn, the lighting design was by Jason Lyons, the sound design was by Robert Kaplowitz and Andrea Allmond, the projection design was by Elaine J. McCarthy; the production stage manager was Cheryl Mintz. The cast was:

GLORIA	Mary McDonnell
ENSEMBLE	Gabrielle Beckford, Mierka Girten Patrena Murray, Erika Stone, Brenda Withers, Eunice Wong

CAST

Seven Women. One performer plays Gloria. All other roles are played by a diverse ensemble of six women. The breakdown in the script is by the first name of the actor who originated each role. Another director may break down the ensemble roles differently. However, Dorothy Pitman Hughes, Flo Kennedy, and Coretta Scott King should be played by actors of color. Wilma Mankiller should be played by a Native American actor.

NOTE

After every performance of this play, there will be audience discussion in the spirit of a talking circle.

A multigenerational, diverse ensemble of actors—six women—help Gloria tell the story.

A bare stage with a few places to sit. Gloria’s Persian rugs on the floor. Ideally the play is performed in the round. Projection screens surround the space.

Music of the period underscores the action.

In the original production, both video and live-feed were used, but they are not essential. The script notes where media was utilized. Three cubes, piles of books, a small end table, and a stool were used to create the world of each scene. These set pieces were moved around the playing area by the ensemble.

TIME

When the ensemble and Gloria directly address the audience, we are in the present time. Otherwise, they are reenacting a scene from Gloria’s past.

ACT ONE

PART ONE

[Montage: One by one, the screens come alive with images of the Women’s Movement, starting with a Seneca woman, Sojourner Truth, Elizabeth Cady Stanton and Susan B. Anthony, Ida B. Wells, to the 1970 March down Fifth Avenue, to Gloria saying: “What we are talking about is a revolution, and not a reform,” to the 2017 Women’s March on Washington, to present-day protests. The ensemble enters the space and watches with the audience.]

The actress playing Gloria enters the space. The lights change.

GLORIA

(To us) Welcome! Before we begin together, I just want to get this out of the way. Everyone always asks about the aviator glasses. (Laughs) I mean, they were prescription, but they were also about protection. The bigger the better. (Beat) The hair, too. But I don’t want anything to come between us tonight. (Takes off her glasses) Because here’s the good news—we’re all in this room together and not alone on our computers or cell phones! Human beings are communal animals—we’re meant to be sitting around campfires telling our stories—learning from each other. We’ve been doing it for millennia. In fact, I would say being able to tell your story and listening to each other’s stories is the surefire path out, because you realize you’re not crazy—the system is crazy—and you’re not alone.

Social justice movements start with people sitting in a circle—like this. We called it consciousness raising … It’s all about sharing what’s wrong and what to do about it—and there is so, so much to do—we are in a crisis like I’ve never known—and it seems to get worse every day. But, I haven’t seen such activism as I’m seeing—right now. One hundred and twenty-seven women were sworn in to Congress this year—including the first two Muslim women and the first two Native American women—and one of them is openly gay! Women and people of color are taking back our country. Because of the #MeToo Movement, women are finding the courage to stand up and speak their personal truth more than ever before.

Young people are mad—they’re just not accepting old divisions of race and gender. They’re marching and voting and using the legal system like never before.

You might be wondering why I’m so optimistic, given this sh...

Table of contents

• Cover
• Title Page
• Copyright
• Dedication
• Contents
• Foreword
• Gloria: A Life
• Ensemble Character Breakdown
• Timeline