by Rob Urbinati
Full Length Play, Drama / 2m, 2f
"Mama’s Boyis a gripping family drama that illuminates history by adding a touch of humanity." - Portland Press Herald
"Like the best historical drama, Rob Urbinati’s Mama’s Boy does not get bogged down in the facts of history, but rather finds in the past that which is human and timeless. The result is a moving and compassionate portrait of lives regularly flattened out and simplified by history’s narrative." - New Jersey Star Ledger
"Mama’s Boy is a major new work that deserves a wider national, even international audience. Urbinati’s is a dramatic voice that speaks with the fire and eloquence of some of America’s great masters – reminiscent of Tennessee Williams, Arthur Miller, Eugene O’Neill – and yet resonates with an originality all its own. Though the play is rooted in history and evokes indelible memories in the communal consciousness, it is less about the tragic events of 1963 and more about the personal relationships of four damaged individuals desperately seeking some connection and meaning." - Broadway World
"Mama's Boy achieves its goal— to be both a provocative study in familial disharmony and a startling consideration of domestic events behind a national tragedy." - Curtain Up
"There’s nothing like a mother’s love, and this startling and brilliant telling from her point of view is full of love, even as it chills the blood." - QonStage
- Strong Language
- Mild Adult Themes
- Minimum Fee: $75 per performance
- Time Period: 1960s, 1950s
- Duration: 120 minutes (2 hours)
- Setting: Several locations in Fort Worth, TX, Dallas TX, and New York City from 1959 - 1964.
- Features / Contains: Period Costumes
MARGUERITE OSWALD - Mid-fifties, but looks older. She’s as gracious and loving as a grandmother, but also imperious, meddling and defensive. She demands attention, and must be “in charge.” She’s lonely, and craves family, but her behavior makes that difficult. She speaks with a New Orleans lilt. She wears cat eye glasses.
MARINA OSWALD - Early twenties. A stranger in a strange land, her personality and confidence emerge gradually. She’s learned to rely on others to get what she wants, and craves material things. She can be fiery and opinionated, and her relationship with Lee is passionate and volatile. She speaks with a heavy Russian accent, which gradually softens.
ROBERT OSWALD - Mid twenties. A Southern gentleman. He’s reticent, a hard worker, conservative and fair-minded. Long ago, he grew weary of his mother’s antics, and when the play begins, he can barely tolerate her, although as a Southern gentleman, he treats her kindly – as often as possible. Although he’s grown apart from Lee, he still has tender, kid brother feelings for him, and is protective of Marina. He speaks with a slight southern drawl.
LEE HARVEY OSWALD - Early twenties. Not traditionally handsome like Robert. Lee is close to his mother, and shares many traits with her. He remains polite, even when she tests his patience. Lee is fond of his brother, but questions his values. He adores Marina, and wants to control the relationship, but Marina isn’t easily controlled. Lee is capable of rage, tenderness and vulnerability. He’s intelligent and secretive. He speaks with a slight southern accent.
Mama's Boy premiered at the Good Theater in Portland, ME in October 2015 under the direction of Brian P. Allen.
Mama’s Boy was subsequently produced at the George Street Playhouse in New Brunswick, NJ in November, 2016 under the direction of David Saint.