On Stage

Production Photographer

Yossi Beilin/Trond Gundersen/German Husband

German Wife & Others

Off Stage

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Playwright

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Director

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Projection Designer

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Assistant Stage Manager

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Dialect Coach

Production Stage Manager

Dialect Coach

Costume Designer

Sound Design

Lighting Designer

Scenic Designer

On Stage

Production Photographer

Yossi Beilin/Trond Gundersen/German Husband

German Wife & Others

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Playwright

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Director

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Projection Designer

N4xjxrzuhpyzs86k4bni

Assistant Stage Manager

D02crfkuazrvm5l519wa

Dialect Coach

Production Stage Manager

Dialect Coach

Costume Designer

Sound Design

Lighting Designer

Scenic Designer

Production Description

Inspired by the true story of the back-channel talks, unlikely friendships, and quiet heroics that led to the 1993 Oslo Peace Accords between the Israelis and the Palestinians, Oslo is a deeply personal story set against a complex historical canvas, a story about the individuals behind world history and their all too human ambitions. Oslo is “thrilling, a colossus,” raves Ben Brantley of The New York Times. At this cultural moment when finding common ground is paramount, “Oslo gives us hope” (Joe Dziemianowicz, Daily News). Winner of the 2017 Tony Award for Best Play.

FROM J.T. ROGERS’ INTRODUCTION TO OSLO

In early 2012, director Bartlett Sher arranged for me to have a drink with a friend of his.
Terje Rød-Larsen was then a United Nations special envoy, focused on Lebanon. The two
men and their families had become friends through their daughters, who attended middle
school together. “I’ve asked him to meet with you,” Bart told me. “Ask him questions about
everything he’s done. You’ll find it fascinating.”

Late on a bitterly cold January night, we met for warm drinks at an Upper West Side haunt
a few blocks from the theater. “Twenty years ago, Mona and I were part of a historic
event,” Mr. Larsen said. As we ordered our second round, I asked him to tell me more.
As a playwright, I look to tell stories that are framed against great political rupture. I am
obsessed with putting characters onstage who struggle with, and against, cascading world
events and who are changed forever through that struggle. While journalism sharpens our
minds, the theater can expand our sense of what it means to be human. It is where we can
come together in a communal space to hear ideas that grip us, surprise us—even infuriate
us—as we learn of things we didn’t know. For me, that is a deeply, thrillingly, political act.
I hunt perpetually for these kinds of stories. I look for them everywhere, but sometimes
the story finds you. . .

The historic events in Oslo are all true, but I have taken dramatic liberties. I have
theatricalized and reinvented—all to focus my play on the radical act at the center of
the actual Oslo Channel. In the middle of endless bloodshed and hatred, members of
the Israeli Government and the PLO chose to sit across from their enemies and see them
as human beings. Each side listened to the other and was permanently changed by that
listening. I am awed by the personal and political courage that took. It is a moment of
history that I do not want forgotten.

- J. T. Rogers, Hastings-on-Hudson, NY, January 2017

Performance Type

Theater

Website

https://northernstage.org/portfolio/fall-repertory-oslo-dear-elizabeth/