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Woolly Mammoth Theatre Company - Defy convention
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ABOUT THE SHOW

It’s back! Woolly reunites the entire cast and creative team of Stupid Fucking Bird, following its runaway success in the summer of 2013.

In this irreverent, contemporary, and very funny remix of Chekhov’s The Seagull, award-winning playwright Aaron Posner wages a timeless battle between young and old, past and present, in search of the true meaning of it all. An aspiring young director rampages against the art created by his mother’s generation. A nubile young actress wrestles with an aging Hollywood star for the affections of a renowned novelist. And everyone discovers just how disappointing love, art, and growing up can be.

Winner of the Helen Hayes Awards for Outstanding Resident Play and Outstanding New Play or Musical, Stupid Fucking Bird will tickle, tantalize, and incite you to consider how art, love, and revolution fuel your own pursuit of happiness.

Stupid Fucking Bird runs approximately 2 hours and 20 minutes with one intermission.
Tickets for Stupid Fucking Bird can be purchased here.


PRAISE FOR STUPID FUCKING BIRD

“Funny, moving…a ripe mashup of mock and awe”
The Washington Post

“Mines The Seagull for classical heft even while giving it the bird”
The Washington Post

“One of the best ensemble performances I’ve seen this season”
Broadway World

“Five Stars! Stupid Fucking Bird begins when someone yells, ‘Start the fucking play!’
Make sure that person is you by getting your tickets early.”
DC Metro Theatre Arts

“A pleasure to watch”
MD Theatre Guide

“As good as anything you’ve seen in Washington this season.”
DC Theatre Scene

“Sharp-witted…some of the funniest dialogue I have heard on the stage.”
Pamela’s Punch

“Totally charming and sophisticated…should not be missed.”
New York Arts


HOWARD SAYS…

“It’s a thrill to return to one of our audience’s favorite productions ever, and one of the first plays to be created through Woolly’s innovative “Free the Beast!” fund which supported a deep collaboration among an exceptional team of artists. In Chekhov’s original, which premiered in Russia in 1896, a young playwright calls for “new forms” as he imagines a kind of love and art that will affirm his independence from his famous mother. In Aaron’s radically new version, the story is roughly the same, but the language and the world are right here, right now, in this very theatre tonight. The dense Chekhovian “subtext” (the inner thinking of the characters) has been brought to the surface through a variety of exuberant strategies, and the latent theatricality of the original has been heightened through Aaron’s pointed interrogation of the act of theatergoing itself.”

-Howard Shalwitz,
Artistic Director, Woolly Mammoth Theatre Company

 

 

Show art by Carolyn Sewell.