The Public Theater
Three Week Extension For Critically Acclaimed
THE AGONY AND THE ECSTASY
OF STEVE JOBS
Created and Performed by Mike Daisey
Directed by Jean-Michele Gregory
Show Must Close Sunday, December 4
October 20, 2011 – Due to extraordinary demand, The Public Theater (Artistic Director Oskar Eustis; Interim Executive Director Joey Parnes) announced today that it would extend the critically acclaimed THE AGONY AND THE ECSTASY OF STEVE JOBSby three weeks through Sunday, December 4. Created and performed by Mike Daisey and directed by Jean-Michele Gregory, THE AGONY AND THE ECSTASY OF STEVE JOBS, currently playing in The Public’s Martinson Theater, opened on Monday, October 17 and was originally scheduled to close on Sunday, November 13. It will now run an additional three weeks and must close on Sunday, December 4. Tickets, priced at $75-$85, are on sale now at (212) 967-7555 or www.publictheater.org.
“Mike Daisey has touched America’s nerve and New York’s heart, and I am delighted there is such a huge audience for The Agony and the Ecstasy of Steve Jobs,” said Artistic Director Oskar Eustis. “This is theater at its best; of the moment, hot and cool at once, demanding to be seen.”
“A smart, pointed and often very funny exploration of the rise of Apple and the career and vision of Steve Jobs. Anyone who sees Mr. Daisey’s show — and anyone with a cellphone and a moral center should — will find it hard to forget the repercussions that our casual purchases can have in the lives of men and women (and children) half a world away.” -- New York Times
“The Agony and the Ecstasy of Steve Jobs ranks alongside Follies
as the most exciting show in town.”--Wall Street Journal
“Daisey is mesmerizing…His personal, poignant and passionate piece stays with you
many days after you’ve seen it.”--Associated Press
Following the success of The Last Cargo Cult, Mike Daisey turns his razor-sharp wit to America’s most mysterious technology icon in this hilarious and harrowing tale of pride, beauty, lust, and industrial design. He illuminates how the CEO of Apple and his obsessions shape our lives, while sharing stories of his own travels to China to investigate the factories where millions toil to make iPhones and iPods. Daisey’s dangerous journey shines a light on our love affair with our devices and the human cost of creating them.
MIKE DAISEY (Creator and Performer) has been called “the master storyteller” and “one of the finest solo performers of his generation” by the New York Times for his groundbreaking monologues which weave together autobiography, gonzo journalism, and unscripted performance to tell stories that cut to the bone, exposing secret histories and unexpected connections. His monologues include the critically acclaimed run of The Last Cargo Cult at The Public Theater, the controversial How Theater Failed America, the six-hour epic Great Men of Genius, the unrepeatable series All Stories Are Fiction, and the international sensation 21 Dog Years. He has performed across five continents, from Off-Broadway to remote islands in the South Pacific, from the Sydney Opera House to abandoned theaters in post-Communist Tajikistan. He’s been a guest on the Late Show with David Letterman, as well as a commentator and contributor to WIRED, Vanity Fair, Slate, Salon, NPR and the BBC. His first film, Layover, was shown at the Cannes Film Festival last year, and a feature film of his monologue If You See Something Say Something is currently in post production. His second book, Rough Magic, a collected anthology of his monologues, will be published in 2012. He has been nominated for the Outer Critics Circle Award, two Drama League Awards, and is the recipient of the Bay Area Critics Circle Award, four Seattle Times Footlight Awards, the Sloan Foundation’s Galileo Prize, and a MacDowell Fellowship. Most recently he premiered his 24-hour monologue All the Hours in the Day, an epic story that spans the globe, at the TBA Festival in Portland, Oregon.
JEAN-MICHELE GREGORY (Director) works as a director, editor, and dramaturg, focusing on extemporaneous theatrical works that live in the moment they are told. Working primarily with solo artists, for the last decade she has collaborated with monologist Mike Daisey, directing at venues across the globe including The Public Theater, the Sydney Opera House, Yale Repertory Theatre, the Cherry Lane Theater, the Under the Radar Festival, Woolly Mammoth Theatre, the Barrow Street Theatre, Chicago’s Museum for Contemporary Art, American Repertory Theatre, the Spoleto Festival, Berkeley Repertory Theatre, the Noorderzon Festival, Intiman Theatre, Performance Space 122, the T:BA Festival,and many more. She has also directed New York storyteller Martin Dockery (Wanderlust, The Surprise) and the Seattle-based performer and writer Suzanne Morrison (Yoga Bitch, Optimism). Her productions have received four Seattle TimesFootlight Awards (21 Dog Years, The Ugly American, Monopoly!, The Last Cargo Cult), the Bay Area Critics Circle Award (Great Men of Genius), and nominations from the Drama League and Outer Critics Circle (If You See Something Say Something).
THE AGONY AND THE ECSTASY OF STEVE JOBS features scenery and lighting design by Seth Reiser.
THE PUBLIC THEATER (Oskar Eustis, Artistic Director; Joey Parnes, Interim Executive Director) was founded by Joseph Papp in 1954 and is now one of the nation’s preeminent cultural institutions, producing new plays, musicals and productions of classics at its downtown home and at the Delacorte Theater in Central Park. The Public Theater’s mandate to create a theater for all New Yorkers continues to this day on stage and through extensive outreach programs. Each year, more than 250,000 people attend Public Theater-related productions and events at six downtown stages, including Joe’s Pub, and Shakespeare in the Park. The Public Theater’s productions have won 42 Tony Awards, 158 Obies, 42 Drama Desk Awards and four Pulitzer Prizes. Fifty-four Public Theater productions have moved to Broadway, including Sticks and Bones; That Championship Season; A Chorus Line; For Colored Girls…; The Pirates of Penzance; The Tempest; Bring in ’da Noise, Bring in ’da Funk; The Ride Down Mt. Morgan; Topdog/Underdog; Take Me Out; Caroline, or Change; Passing Strange; the revival of HAIR; Bloody Bloody Andrew Jackson and The Merchant of Venice. www.publictheater.org.
THE AGONY AND THE ECSTASY OF STEVE JOBS began previews on October 11 and officially opened on October 17. It has been extended through Sunday, December 4. The performance schedule is Tuesday through Saturday at 8 p.m. and Saturdays and Sundays at 2 p.m. (There will be no performance on Thursday, November 24, and there were will be an additional performance on Sunday, November 27 at 7 p.m.) Tickets, priced at $75-$85, are on sale now. Tickets can be purchased by calling (212) 967-7555, by visiting www.publictheater.org, or in person at The Public Theater box office. The Public Theater is located at 425 Lafayette Street.
# # #
The LuEsther T. Mertz Charitable Trust provides leadership support for
The Public Theater’s year-round activities.
The Public’s 2011-2012 downtown season is made possible with the generous support of both The Philip and Janice Levin Foundation and The Ian Madover and Arielle Tepper Madover Family Foundation.
Time Warner is the Supporting Sponsor of The Public’s 2011-2012 season.
Bank of America is the proud Season Sponsor of Shakespeare in the Park.
Major support for The Public Theater is provided by The Andrew W. Mellon Foundation, the Shubert Foundation, the Harold and Mimi Steinberg Charitable Trust, Ford Foundation, the Susan Stein Shiva Foundation, the George T. Delacorte Fund at the New York Community Trust—Fund for Performances at the Delacorte Theater in Central Park, and by Warren Spector and Margaret Whitton.
Additional generous support is provided by the
Horace W. Goldsmith Foundation, The Shen Family Foundation, and the Stavros Niarchos Foundation.
New York Magazine is the official print and online sponsor of The Public Theater’s 2011-2012 downtown season.
Public support is provided by the New York City Department of Cultural Affairs; the New York State Council on the Art; and the National Endowment for the Arts.
Special thanks to Continental Airlines, the official airline of The Public Theater.
# # #