Rajiv Joseph

Storytelling is simply one of the things that make us human beings.
And storytelling exists in almost every facet of life.
What makes theatre particularly powerful is the fact that it is performed live, in front of a living, breathing audience.
And the audience, in sitting quietly and watching a drama unfold before them, is participating in a unique form of meditation.
I think this experience is peculiar enough that it can sometimes effect a sort of change within people.
It may even be unconscious.
Whatever it is, the theatre survives because of it.
—  Rajiv Joseph

You can’t marry that girl, Doug. You can’t. Because what about me? What about me, huh? When my Dad died, when you…when you cane to the funeral home that night… That stuff you said to me… You’re always doing that, you know? The top ten best things anyone’s ever done for me have all been done by you. That’s pretty good, right? And I know. I know I know I know… I’m so stupid. I’m always…I’m just fucked up, you know that. And so I need you to stick it out, Dougie. I’m gonna need you to come looking for me again. I’m sorry. But you have to wake up now. You have to wake up for me. Because I’m not great, you know? I’m not great. And I really need you right now. I really need you to come over and show me some stupid shit again, tell me some stupid joke like you always do. I’m sorry I’ve been gone. I’m back now. You know? I’m back now. So wake up. Wake up now, buddy. Just, you know…rise and shine.

It’s Tuesday.
That was always your favorite day.

—  Kayleen,
Gruesome Playground Injuries by Rajiv Joseph,
Scene 4, “Age Twenty-Eight: Tuesday”

We’ve got a trailer for Gruesome Playground Injuries! Many thanks to Tyler Lucas. We’ll have more behind-the-scenes content coming up. Hope to see you at the show!

Gruesome Playground Injuries is an amazing piece of work. Rajiv Joseph really ups the stakes in this play by pushing things to the extreme. Although these injuries can resemble physical emotional scars for the characters, he doesn’t beat you over the head with symbolism as many plays tend to do. The play is 1M 1F, easily cuttable, has a variety of scenes to choose from for scene work and one sweet monologue for each the guy and girl. Love this play!

ILANA: It was a kiss! It was just a kiss. It doesn’t mean anything.

ANDY: It doesn’t mean anything?

(He takes out his book) I’ve been counting my blessings my whole life. Putting them into this book.

But the best blessing I ever wrote in here, the blessing that made me feel the most blessed was number 7,906.

(he reads it) Ilana Andrews kissed me.
Ilana Andrews kissed me.
Ilana Andrews kissed me.

(he looks up) I had to write it three times.

ILANA: Andy…

ANDY: What a joke.

—  Rajiv Joseph, Animals Out of Paper