21-year-old Leo arrives unannounced at the Greenwich Village apartment of his 91-year-old Jewish leftist grandmother Vera. As an overnight couch-surf turns into an extended stay, 4000 Miles unearths a surprising commonality between these two generations in this emotionally compelling drama.
From one of America’s brightest playwrights, this compassionate and unsentimental play explores the funny, frustrating, and ultimately life-changing relationship between a grandson learning to face his life and a grandmother who is starting to forget hers.
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Smart and penetrating.
A crackling good contemporary script, first class actors, and a top notch production.
Studio Theatre’s Technical Director Mike Donohue is responsible for translating set designer Russell Metheny’s designs into reality.Read More
Studio Theatre just announced the third and final extension of Amy Herzog’s Pulitzer-finalist play 4000 Miles. Actor Grant Harrison, who plays the lead character Leo, has been in DC since mid-February, and talks a little about living into a character over a long run and his next project (“it’s kind of a Spinal Tap meets Spice Girls mash up.”Read More
4000 Miles is a play of surface and depths, with a canny eye for external behavior that reveals its characters’ hunger for meaningful connection. Its plot is straightforward: 21-year-old Leo, who’s been out of contact with his family since the middle of a cross-country bike trip, arrives late one night at the door of his octogenarian grandmother Vera. Leo’s been on the move—across the country, away from his family—looking for a haven in Vera’s West Village apartment. She is a fierce and fiercely independent woman, glad for company as she negotiates the changes age has brought to her own life.Read More
Vera Joseph is a character in two of Amy Herzog’s plays. After the Revolution is set in 1999, and introduces Vera as the recent widow of Joe, the celebrated patriarch of a Marxist family. In the play, Vera’s granddaughter Emma has just learned that Joe spied for the Russians during WWII, which throws Emma’s moral and political center into question. Vera defends her husband’s decisions as Emma wrestles with how to make sense of this new information in light of her lionized view of her grandfather.Read More