Lifestyle
In honor of Mother's Day, here's 'Mother Play' — which gestated for 40 years
Playwright Paula Vogel is known not just for her work on Broadway — but for the generations of famous playwrights whose careers she has nurtured. Above, Jessica Lange in Paula Vogel’s Mother Play.
Joan Marcus/Second Stage
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Joan Marcus/Second Stage
Playwright Paula Vogel is known not just for her work on Broadway — but for the generations of famous playwrights whose careers she has nurtured. Above, Jessica Lange in Paula Vogel’s Mother Play.
Joan Marcus/Second Stage
To most of the public, Paula Vogel is best known for her moving, highly theatrical plays, among them How I Learned to Drive, Indecent and her latest work, Mother Play, starring Jessica Lange and up for several Tony Awards. But since 1984, she has taught scores of younger playwrights – first at Brown University, then at Yale.
“I love teaching as much as I love writing,” said Vogel. “So, this is, actually, for the last 40 years, has been something of a juggling act, because I always miss doing the other one.”
Over the years, her former students have won Tony Awards and Pulitzer Prizes and have been produced on and off Broadway.
“I wanted my students to get on Broadway before I did,” Vogel said. “I wanted my students to get produced at theater companies that I would never be produced in. And, you know, I always think of this as kind of one stop shopping; come in as an emerging playwright and leave the room as my colleague.”
“One of the first things she said, the first day I met her, was, ‘When a door opens for you, you hold it open and you let one other person through,’” said Pulitzer Prize-winning playwright Quiara Alegría Hudes, perhaps best known for writing the script and screenplay for In the Heights. “And that’s her. Except for, she’s really holding the door open and like, hundreds of people are coming through. She teaches you about the ethics; not just playwriting structure and style, but the ethics of living a life as a writer, as an artist. She models that.”
A lifelong mentor
“I wanted my students to get on Broadway before I did,” says playwright and professor Paula Vogel.
Second Stage
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Second Stage
“I wanted my students to get on Broadway before I did,” says playwright and professor Paula Vogel.
Second Stage
Vogel, who grew up in the Washington, D.C., area, frequently writes out of personal experience – sometimes painful personal experience. Her breakout play was The Baltimore Waltz, which dealt with her brother’s dying of AIDS.
MacArthur Grant-winning playwright Sarah Ruhl said she studied with Vogel at a particularly vulnerable time in her life.
“I met Paula when I was 20, and my father had just died of cancer, and I was back at Brown and I was having a little trouble focusing,” Ruhl said. “And Paula really understood how grief shapes an artist, and, also how to help artists out of that muddle and into their work.”
In fact, Ruhl’s breakout play, Euridyce, sends the title character to Hades where she meets her dead father.
When two-time Pulitzer Prize-winner Lynn Nottage first met Vogel, she was planning to go to journalism school and didn’t realize that playwrighting was a career path for women.
“I was taking a playwriting seminar class, and she walked in and she was still a young, ambitious playwright figuring out how to teach playwriting,” said Nottage. “And I found her to be warm and generous and nurturing and encouraging and really inspirational in ways that fed my spirit.”
Her former students said it wasn’t just their spirits being fed. “She would take me to this place, Café Zog in Providence on Wickenden street and we’d have a cookie,” Ruhl said. “And, you know, she would feed her writers.”
They still meet for the occasional cookie. Or drink.
Lynn Nottage recalled that when she and Vogel made their Broadway debuts in 2017, they frequently met for drinks, because they felt they weren’t getting the support from the media and the Broadway community that they had hoped for.
“So, I think that having an ally and having a sister and having someone, literally, I could hold hands with and, you know, fight the powers-that-be, really emboldened me and allowed me to survive that.”
She added that although Vogel is a kind person, she is also “a badass…she also does have that side that demands to be heard and demands to be seen and that is an advocate and fighter for other writers’ voices.”
“There are no classroom boundaries, I think, around the mentorship that Paula creates and fosters,” said Ruhl. “It is lifelong.”
Vogel and her wife, Anne Fausto-Sterling, officiated at Ruhl’s wedding.
“I’ve actually officiated at a number of former students’ weddings, which, has become one of my hobbies,” Vogel said. “I love doing it.”
All three playwrights have become teachers themselves, and friends with one another. Hudes said she and Vogel share early drafts of their plays. “I have read Mother Play. And I think it’s her best play, and I don’t say that lightly. I am in awe of her body of work.”
The birth of Mother Play
Jim Parsons and Jessica Lange in Mother Play.
Joan Marcus
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Joan Marcus
Yet while Vogel may have become a nurturing teacher and colleague, Mother Play makes it clear that her own mother wasn’t particularly nurturing.
Jessica Lange plays the fictional version. “In the play, Phyllis makes some absolutely unforgivable decisions and then really pays the price for it, lives with those consequences for the rest of her life,” Lange said.
Vogel said Mother Play had a 40-year gestation period and it’s her homage to the many mother plays written by men. “
“When I was sitting at the dinner table with my mother, my brother and I could quote Glass Menagerie at each other, have a little private joke, and get through dinnertime,” Vogel said. “But I was curious as to what is the difference when women write mother plays.”
Set over 40 years, her mother play is written with empathy and forgiveness. The audience sees the struggles this single mother goes through, with money, with alcohol, with her gay children, with loneliness. And all within the context of the constraints of the time period in which she lived.
“Maybe Paula existed in sort of resistance and rebellion to her mother,” mused Lynn Nottage. “You think about the path that Paula has taken is that she never had biological children of her own, but she has this immense, beautiful family in the theater world. And that’s really a blessing.”
Lifestyle
What worked — and what didn’t — in the ‘Stranger Things’ finale
Sadie Sink as Max Mayfield.
Netflix
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Netflix
Yes, there are spoilers ahead for the final episode of Stranger Things.
On New Year’s Eve, the very popular Netflix show Stranger Things came to an end after five seasons and almost 10 years. With actors who started as tweens now in their 20s, it was probably inevitable that the tale of a bunch of kids who fought monsters would wind down. In the two-plus-hour finale, there was a lot of preparation, then there was a final battle, and then there was a roughly 40-minute epilogue catching up with our heroes 18 months later. And how well did it all work? Let’s talk about it.
Worked: The final battle
The strongest part of the finale was the battle itself, set in the Abyss, in which the crew battled Vecna, who was inside the Mind Flayer, which is, roughly speaking, a giant spider. This meant that inside, Eleven could go one-on-one with Vecna (also known as Henry, or One, or Mr. Whatsit) while outside, her friends used their flamethrowers and guns and flares and slingshots and whatnot to take down the Mind Flayer. (You could tell that Nancy was going to be the badass of the fight as soon as you saw not only her big gun, but also her hair, which strongly evoked Ripley in the Alien movies.) And of course, Joyce took off Vecna’s head with an axe while everybody remembered all the people Vecna has killed who they cared about. Pretty good fight!
Did not work: Too much talking before the fight
As the group prepared to fight Vecna, we watched one scene where the music swelled as Hopper poured out his feelings to Eleven about how she deserved to live and shouldn’t sacrifice herself. Roughly 15 minutes later, the music swelled for a very similarly blocked and shot scene in which Eleven poured out her feelings to Hopper about why she wanted to sacrifice herself. Generally, two monologues are less interesting than a conversation would be. Elsewhere, Jonathan and Steve had a talk that didn’t add much, and Will and Mike had a talk that didn’t add much (after Will’s coming-out scene in the previous episode), both while preparing to fight a giant monster. It’s not that there’s a right or wrong length for a finale like this, but telling us things we already know tends to slow down the action for no reason. Not every dynamic needed a button on it.
Worked: Dungeons & Dragons bringing the group together
It was perhaps inevitable that we would end with a game of D&D, just as we began. But now, these kids are feeling the distance between who they are now and who they were when they used to play together. The fact that they still enjoy each other’s company so much, even when there are no world-shattering stakes, is what makes them seem the most at peace, more than a celebratory graduation. And passing the game off to Holly and her friends, including the now-included Derek, was a very nice touch.
Charlie Heaton as Jonathan Byers, Natalia Dyer as Nancy Wheeler, Maya Hawke as Robin Buckley, and Joe Keery as Steve Harrington.
Netflix
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Netflix
Did not work: Dr. Kay, played by Linda Hamilton
It seemed very exciting that Stranger Things was going to have Linda Hamilton, actual ’80s action icon, on hand this season playing Dr. Kay, the evil military scientist who wanted to capture and kill Eleven at any cost. But she got very little to do, and the resolution to her story was baffling. After the final battle, after the Upside Down is destroyed, she believes Eleven to be dead. But … then what happened? She let them all call taxis home, including Hopper, who killed a whole bunch of soldiers? Including all the kids who now know all about her and everything she did? All the kids who ventured into the Abyss are going to be left alone? Perfect logic is certainly not anybody’s expectation, but when you end a sequence with your entire group of heroes at the mercy of a band of violent goons, it would be nice to say something about how they ended up not at the mercy of said goons.


Worked: Needle drops
Listen, it’s not easy to get one Prince song for your show, let alone two: “Purple Rain” and “When Doves Cry.” When the Duffer Brothers say they needed something epic, and these songs feel epic, they are not wrong. There continues to be a heft to the Purple Rain album that helps to lend some heft to a story like this, particularly given the period setting. “Landslide” was a little cheesy as the lead-in to the epilogue, but … the epilogue was honestly pretty cheesy, so perhaps that’s appropriate.
Did not work: The non-ending
As to whether Eleven really died or is really just backpacking in a foreign country where no one can find her, the Duffer Brothers, who created the show, have been very clear that the ending is left up to you. You can think she’s dead, or you can think she’s alive; they have intentionally not given the answer. It’s possible to write ambiguous endings that work really well, but this one felt like a cop-out, an attempt to have it both ways. There’s also a real danger in expanding characters’ supernatural powers to the point where they can make anything seem like anything, so maybe much of what you saw never happened. After all, if you don’t know that did happen, how much else might not have happened?
This piece also appears in NPR’s Pop Culture Happy Hour newsletter. Sign up for the newsletter so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.
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Lifestyle
The Best of BoF 2025: Conglomerates, Controversy and Consolidation
Lifestyle
Sunday Puzzle: P-A-R-T-Y words and names
On-air challenge
Today I’ve brought a game of ‘Categories’ based on the word “party.” For each category I give, you tell me something in it starting with each of the letters, P-A-R-T-Y. For example, if the category were “Four-Letter Boys’ Names” you might say Paul, Adam, Ross, Tony, and Yuri. Any answer that works is OK, and you can give answers in any order.
1. Colors
2. Major League Baseball Teams
3. Foreign Rivers
4. Foods for a Thanksgiving Meal
Last week’s challenge
I was at a library. On the shelf was a volume whose spine said “OUT TO SEA.” When I opened the volume, I found the contents has nothing to do with sailing or the sea in any sense. It wasn’t a book of fiction either. What was in the volume?
Challenge answer
It was a volume of an encyclopedia with entries from OUT- to SEA-.
Winner
Mark Karp of Marlboro Township, N.J.
This week’s challenge
This week’s challenge comes from Joseph Young, of St. Cloud, Minn. Think of a two-syllable word in four letters. Add two letters in front and one letter behind to make a one-syllable word in seven letters. What words are these?
If you know the answer to the challenge, submit it below by Wednesday, December 31 at 3 p.m. ET. Listeners whose answers are selected win a chance to play the on-air puzzle.
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