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Image for 4000 Miles
4000 Miles
Aug 23 - Sep 4
August 23 – September 4

by AMY HERZOG
directed by DAVID KENNEDY

featuring MIA DILLON


CAST
(in order of speaking)

LEO
Clay Singer*

VERA
Mia Dillon*

BEC
Lea DiMarchi*

AMANDA
Phoebe Holden*


CREATIVE TEAM

SCENIC DESIGN
Arnulfo Maldonado

COSTUME DESIGN
Maiko Matsushima

LIGHTING DESIGN
Carolina Ortiz Herrera

SOUND DESIGN
Fitz Patton

INTIMACY COACH
Michael Rossmy

PROPS SUPERVISOR
Sean Sanford

DRAMATURG
Dana Tanner-Kennedy

PRODUCTION STAGE MANAGER
Shane Schnetzler*

CASTING
Tara Rubin Casting, CSA
Claire Burke, CSA

*Member of Actors’ Equity Association


RUNNING TIME
~100 minutes, no intermission


PRODUCTION SPONSOR

Eunice & David Bigelow Foundation

IN-KIND CORPORATE SPONSOR

Cycleology Bike and Ski


4000 Miles was originally produced by Lincoln Center Theater in 2011 in New York City.

4000 MILES was written in the SoHo Rep Writer/Director Lab.

Produced by special arrangement with Samuel French, Inc.

NOTES FROM THE DIRECTOR

4000 Miles is a profound and sympathetic exploration of the human condition complicated by a stringent appreciation of the limits of our human understanding. Almost everything happens in it, and yet nothing much happens. The play is concerned with all the big stuff: the nature of a good life, death, maturation, suffering, love, loss, growing old, dying, missed connections, bad timing, so many regrets, and a little bit of personal growth, but not enough growth to provide an audience with a false sense of uplift. Nothing much is resolved here. And yet we are left feeling as if we have witnessed something momentous.

4000 Miles is a meditation on a common sense of loss and grief and anger and confusion that attends our growing up and our growing old. What the play brings so painfully to the fore is that the young are destined to grow up, the grownup are destined to grow old, and the old are destined to grow obsolete. Everything is impermanent. Everything passes away. Teeth, hearing, memory, friends, lovers, life itself. 

Nothing much is resolved here. And yet we are left feeling as if we have witnessed something momentous.

For those of us in the great, thick middle part of life, those years when — whether you have kids or career, or both; or you’re single and have a vibrant social life; or you have myriad causes to which you dedicate your time; or you like to travel the world; or you work three grueling minimum-wage jobs just to pay the rent — whatever you do, you are usually at your busiest and it seems like it will always, always be this way.

But of course, it won’t.

Sometimes it seems like life is nothing more than a process by which we accumulate a lot of things only to lose them all in the end, usually one at a time over many years, if we’re lucky. 4000 Miles is not about that thick middle part of life. It is an exploration of the times in life that bracket all that busy-ness, at the beginning or the end of all that.

The stuff of this play is really elemental: grief and anger at life’s both unexpected and inevitable losses. But somehow the characters muddle through it. They have to. And even though their lives could not be more different from each other, Vera and Leo, sitting at opposite ends of that busy middle, find solace in each other. In a world in which we are not only left to our own devices, but are encouraged to think of relying on others as a kind of weakness, that these two people come to grow with and support each other is a small miracle.

David Kennedy
Director

ABOUT THE PLAYWRIGHT

Amy Herzog’s plays include After the Revolution (Williamstown Theater Festival; Playwrights Horizons; Lilly Award), 4000 Miles (Lincoln Center; Obie Award for the Best New American Play, Pulitzer Prize Finalist), The Great God Pan (Playwrights Horizons), and Belleville (Yale Rep; New York Theatre Workshop; Susan Smith Blackburn Prize Finalist; Drama Desk Nomination). Amy is a recipient of the Whiting Writers Award, the Benjamin H. Danks Award from the American Academy of Arts and Letters, the Helen Merrill, the Joan and Joseph Cullman Award for Extraordinary Creativity, and the New York Times Outstanding Playwright Award. She is a Usual Suspect at NYTW and an alumna of Youngblood, Play Group at Ars Nova, and the SoHo Rep Writer/Director Lab. She has taught playwriting at Bryn Mawr and Yale.  MFA, Yale School of Drama.

Playhouse Production Team

Associate Producer / Director of Production
David Dreyfoos

Technical Director / Associate Director of Production
RJ Romeo

Company Manager
Bruce Miller

Company Manager
Max Hunt

Head Shop Carpenter
Jason Thompson

Shop Carpenter
Scott A. Trichka

Co-wardrobe Supervisors
Jessica Camarero
Lisa Ficco

For this production

Assistant Director
Elizabeth K. Hobbs

Head Sound
Jon Damast

Head Electrician
Charlestone Gourdet

Wig + Hair Designer
J Jared Janas

Associate Wig + Hair Designer
Tony Lauro

Associate Scenic Designer
Joe Burt

Assistant Lighting Design
Alexandra Vasquez Dheming

Scenic Painter
Nick Shons

Production Assistant
Lauren Lambert

Dresser
Kathryn Duffner

Stage Management Intern
Abigail Wilson

Props Intern
Nick Schons

 

*Member of Actors’ Equity Association


Actors equity logo

This Theatre operates under an agreement between the League of Resident Theatres and Actors’ Equity Association, the Union of Professional Actors and Stage Managers in the United States.

 

SDC logo

The Director is a member of the Society of  Stage Directors and Choreographers, Inc., an independent  national labor union.

 

IATSE logo

Westport Country Playhouse employs members of the International Alliance of Theatrical Stage Employees, Local 74.


IATSE and USA logo

The scenic, costume, lighting and sound designers in LORT Theatres  are represented by United Scenic Artists, Local USA-829 of the IATSE.