Sally Murphy, Tim Hopper, Cora Vander Broek and Ian Barford. Photo by Michael Brosilow.
By Tracy Letts
Directed by Dexter Bullard
Ian Barford, Tim Hopper, Sally Murphy, Caroline Neff, Tracy Letts, Cora Vander Broek, Troy West, Kahyun Kim
Scenic Design: Todd Rosenthal
Costume Design: Laura Bauer
Lighting Design: Marcus Doshi
Sound Design and Original Music: Richard Woodbury
Dramaturg: Ed Sobel
Artistic Producer: Aaron Carter
Casting; JC Clementz
Stage Manager: Malcolm Ewen
First Performance March 30, 2017
Opening April 9, 2017
Final Performance May 21, 2017
Submit a review for Linda Vista
Wheeler is 50. His marriage is over, his job is mundane, and the best years of his life appear to be behind him. A move from the cot in his ex-wife’s garage to his own apartment opens up new possibilities for love and sex—complicated, painful and hilarious. Full of opinions, yet short on self-examination, Wheeler must reconcile the man he has become with the man he wants to be.
Tracy Letts is a Pulitzer Prize and Tony Award-winning playwright, actor and member of the Steppenwolf ensemble. His works include August: Osage County, Mary Page Marlowe, Superior Donuts, The Man from Nebraska, Killer Joe and Bug, among others. He is also known for his portrayal of Andrew Lockhart in Showtime’s Homeland and can be seen in The Big Short and HBO’s Divorce.
Chris Jones – Chicago Tribune
Under Anna D. Shapiro and with the previous stellar input of Young Jean Lee, Steppenwolf has been doing some interesting critical exploration of the straight white male-scape this season, smartly focusing not so much on the opposition to the current preoccupation with social justice, but on those caught between de rigueur ally-ship and old-fashioned self-interest. “Linda Vista” is very much a classic Steppenwolf kind of show — funny, edgy, smart — and I don’t doubt it will be a hit, and so it deserves to be, but you can, in its best moments, see it as a meditation on that old Steppenwolf brand, colliding uneasily against the new realities and interests of the American theater.
Hedy Weiss – Chicago Sun-Times
At its most superficial (and this is during the play’s opening scenes), it has the quality of a political satire in the guise of a dyspeptic TV sitcom, with unexceptionable barbs about a certain sitting president, politicians who deny Darwinism, climate change and all the rest, and the execrable state of mass entertainment since the glory days of filmmaker Stanley Kubrick. It’s only when it finally settles into the real problems of the characters at hand — and Letts puts on his mantle as something of a latter-day Edward Albee, tapping into both the cruelty and pain of human relationships — that the play really pops.
Lawrence Bommer – Stage and Cinema
Named after the San Diego condo complex that’s Wheeler’s new home (it beats living in his ex-wife’s garage), Linda Vista delivers perfect proof of Socrates’ warning that the unexamined life is not worth living. And when you’re in an edgy world premiere by the often corrosive Tracy Letts (August: Osage County, Superior Donuts, Killer Joe, Man from Nebraska, Mary Page Marlowe, Bug) and it’s scorchingly staged by Dexter Bullard, the “examination” equals tough love times ten.