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The Orphans' Home Cycle, Part Three: The Story of a Family

Full Length, Drama
14 men, 8 women (doubling)
Total Cast: 22, Flexible Set
ISBN-13: 978-0-8222-2477-8


MIN. PERFORMANCE FEE: $105 per performance. SPECIAL NOTE ON MUSIC: A cue sheet and the original music and sound design composed for this play by John Gromada is available for purchase with your license for $35.00 and will be distributed digitally. For more information, click here. The nonprofessional fee for the use of this music is $25.00 per performance.
THE STORY: Act One: 1918 The 1918 Flu Epidemic strikes Harrison, and the Robedaux family is hit particularly hard.

Act Two: Cousins Horace is called to Corella's bedside in Houston when she faces another operation. Meanwhile, as everyone attempts to sort through their complex family trees, the past haunts his cousins Minnie Curtis and Lewis Higgins.

Act Three: The Death of Papa The death of Elizabeth's father sends the Vaughn and Robedaux households into a tailspin while Horace struggles through the turbulent economy to keep his store open and support his family.

The Orphans’ Home Cycle, Part One: The Story of a Childhood

The Orphans’ Home Cycle, Part Two: The Story of a Marriage
“The three short dramas that make up THE STORY OF A FAMILY…are both the starkest and most sentimental of this lovingly painted life-and-times portrait…Foote weaves his melodrama into the plain cloth of everyday events. He knows life’s natural littleness doesn’t cease when big events happen.” —The New York Times.

“The show is filled with riches. To his credit, Foote…doesn’t tie things up with a pretty bow—rather with something more uncertain. The line that lingers near the end is a simple one: 'A family is a remarkable thing, isn’t it?' It is. So is this theatrical event.” —New York Daily News.

“…elevated and elemental, like Greek tragedy…the action exists in a kind of suspended reality—not bound by the laws of time and faintly ritualistic…temporal strangeness only heightens the complex pleasures of Foote’s melancholy masterpiece.” —New York Magazine.

“Foote’s final gift to the stage is glorious, an essential American masterwork…Foote’s sympathetic but rigorous eye misses nothing. He puts his characters forward without judgment, sentimentalizing nothing and letting us make what we will of the unfolding human panoply. If there’s a better illustration of the adage that universality is rooted in specificity, I can’t think of it.” —Backstage.