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WILL ENO is a fellow of Residency Five at Signature Theatre Company in New York. His play The Open House premiered at Signature in 2014, and received an Obie Award, the Lucille Lortel Award for Best Play, and a Drama Desk Special Award. His play The Realistic Joneses premiered at Yale Repertory Theatre in 2012, and was produced on Broadway in 2014, for which he and the cast received a Drama Desk Special Award. His play Title and Deed premiered at Signature in 2012 and was presented at the Edinburgh Fringe Festival in 2014. Both Title and Deed and The Realistic Joneses were included in the New York Times Best Plays List of 2012. Gnit, an adaption of Ibsen’s Peer Gynt, premiered at Actors Theatre of Louisville in 2013. Middletown, winner of the Horton Foote Prize, premiered at the Vineyard Theatre in New York in 2010, and was then produced at Steppenwolf Theatre Company in Chicago in 2011. Thom Pain (based on nothing) was a finalist for the 2005 Pulitzer Prize and has been translated into many languages. The Flu Season premiered at the Gate Theatre in London in 2003, and later received the Oppenheimer Award for best New York debut production by an American writer. Tragedy: a tragedy premiered at the Gate Theatre in 2001, and was subsequently produced by Berkeley Repertory Theatre in 2008. Mr. Eno lives in Brooklyn with his wife Maria Dizzia and their daughter Albertine.
Title and Deed:
"A haunting and often fiercely funny meditation on life as a state
of permanent exile... The marvel of Mr. Eno’s voice is how
naturally it combines a carefully sculptured lyricism with sly,
poker-faced humor. Everyday phrases and familiar platitudesDon’t
ever change,’ Who knows’are turned inside out or twisted into
blunt, unexpected punch lines punctuating long rhapsodic passages
that leave you happily word-drunk." Charles Isherwood, New York
Times
"Title and Deed is daring within its masquerade of the mundane,
spectacular within its minimalism and hilarious within its display
of po-faced bewilderment. It is a clown play that capers at the
edge of the abyss... Eno’s voice is unique; his play is stage
poetry of a high order. You can’t see the ideas coming in Title and
Deed. When they arrivetiptoeing in with a quiet yet startling
energyyou don’t quite know how they got there. In this tale’s
brilliant telling, it is not the narrator who proves unreliable but
life itself. The unspoken message of Eno’s smart, bleak musings
seems to be: enjoy the nothingness while you can." John Lahr, New
Yorker
Pensive, lyrical, deeply funny and profoundly sad.” -Marilyn
Stasio, Variety
Oh the Humanity
"Eno is a supreme monologist, using a distinctive, edgy blend of
non sequiturs and provisional statements to explore the fragility
of our existence... There are a lot of words, but they are always
exquisitely chosen... Oh, the Humanity reveals that we are
beautiful walking tragedies blinking with absurd optimism into the
camera lens of history." Lyn Gardner, Guardian
Title and Deed:
"A haunting and often fiercely funny meditation on life as a state
of permanent exile... The marvel of Mr. Eno’s voice is how
naturally it combines a carefully sculptured lyricism with sly,
poker-faced humor. Everyday phrases and familiar platitudes—`Don’t
ever change,’ `Who knows’—are turned inside out or twisted into
blunt, unexpected punch lines punctuating long rhapsodic passages
that leave you happily word-drunk." —Charles Isherwood, New York
Times
"Title and Deed is daring within its masquerade of the mundane,
spectacular within its minimalism and hilarious within its display
of po-faced bewilderment. It is a clown play that capers at the
edge of the abyss... Eno’s voice is unique; his play is stage
poetry of a high order. You can’t see the ideas coming in Title and
Deed. When they arrive—tiptoeing in with a quiet yet startling
energy—you don’t quite know how they got there. In this tale’s
brilliant telling, it is not the narrator who proves unreliable but
life itself. The unspoken message of Eno’s smart, bleak musings
seems to be: enjoy the nothingness while you can." —John Lahr, New
Yorker
“Pensive, lyrical, deeply funny and profoundly sad.” -Marilyn
Stasio, Variety
Oh the Humanity
"Eno is a supreme monologist, using a distinctive, edgy blend of
non sequiturs and provisional statements to explore the fragility
of our existence... There are a lot of words, but they are always
exquisitely chosen... Oh, the Humanity reveals that we are
beautiful walking tragedies blinking with absurd optimism into the
camera lens of history." — Lyn Gardner, Guardian
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