Overview

""A Machiavellian meditation on the sacrifices politicians will make to reach office."" -The Economist In 2008, in an alternate universe where anything can happen, a woman named Hillary Clinton is running for president of the United States of America. Struggling in Iowa against her more charismatic opponent (""The Other Guy""), she calls on her husband Bill for support. Bill offers her a deal, but when Hillary agrees to his help, she gets far more than she bargained for... With Hillary and Clinton, Lucas Hnath takes a layered look at a political climate much like our own and deftly examines the sacrifices people make in order to obtain power. He offers up ""an audacious, whip-smart, highly entertaining piece of writing"" (Chicago Tribune).

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Reviews

[Hillary and Clinton] is asking us to see the world through the eyes of a woman who ostensibly has all the right stuff to be president and yet is never allowed to win. --Ben Brantley, New York Times In many ways, Hillary and Clinton is about public and private selves, and the difficulty that Hillary has faced in uniting them to perform herself as a person...The play, in effect, is a fantasy of closing that gap: of offering, in public, a view of private Hillary. --Adam Feldman, Time Out New York Hnath uncovers nuances in the Clinton marriage that suggests just what Hillary has always been up against...In a deeply misogynist culture, people prefers their Machiavellies to be princes, not princesses, and certainly not queens. --Greg Evans, Deadline An intriguing, fulfilling sketch of a fantasy...What we're watching is the world's most competently performed therapeutic role-play. But the therapy, as Hnath has ably constructed it, isn't for the Clintons; it is for us. --Jesse Oxfeld, New York Stage Review Simultaneously sly and slight, Hillary and Clinton examines the complications of marriage, both the political and personal types...one thing is certain: in any universe, Hillary Clinton would never see herself as a victim. --Brian Scott Lipton, CitiTour NYC Provocative and poignant, smart and funny...A bold theatrical speculation and uncovering of the Hillary we didn't see, at least on either of her presidential campaign trails--a woman of surprising vulnerability trying to carve out her own space from the shadow of her forever-charming husband, but wilting in the force-field of his apparent charisma and being frustrated by his own interventions into her story. --Mark Shenton, New York Theatre Guide [Hillary and Bill are] portrayed as knowing each other so well that in the sleek economy of Hnath's language, they speak with that intimately ferocious candor in which longtime partners are fluent. They've survived their own public-private hell, but just barely. And now, damaged, they, in their separate ways, look to a Hillary presidency for healing and salvation. --Peter Marks, Washington Post

""[Hillary and Clinton] is asking us to see the world through the eyes of a woman who ostensibly has all the right stuff to be president and yet is never allowed to win."" --Ben Brantley, New York Times ""In many ways, Hillary and Clinton is about public and private selves, and the difficulty that Hillary has faced in uniting them to perform herself as a person...The play, in effect, is a fantasy of closing that gap: of offering, in public, a view of private Hillary."" --Adam Feldman, Time Out New York ""Hnath uncovers nuances in the Clinton marriage that suggests just what Hillary has always been up against...In a deeply misogynist culture, people prefers their Machiavellies to be princes, not princesses, and certainly not queens."" --Greg Evans, Deadline ""An intriguing, fulfilling sketch of a fantasy...What we're watching is the world's most competently performed therapeutic role-play. But the therapy, as Hnath has ably constructed it, isn't for the Clintons; it is for us."" --Jesse Oxfeld, New York Stage Review ""Simultaneously sly and slight, Hillary and Clinton examines the complications of marriage, both the political and personal types...one thing is certain: in any universe, Hillary Clinton would never see herself as a victim."" --Brian Scott Lipton, CitiTour NYC ""Provocative and poignant, smart and funny...A bold theatrical speculation and uncovering of the Hillary we didn't see, at least on either of her presidential campaign trails--a woman of surprising vulnerability trying to carve out her own space from the shadow of her forever-charming husband, but wilting in the force-field of his apparent charisma and being frustrated by his own interventions into her story."" --Mark Shenton, New York Theatre Guide ""[Hillary and Bill are] portrayed as knowing each other so well that in the sleek economy of Hnath's language, they speak with that intimately ferocious candor in which longtime partners are fluent. They've survived their own public-private hell, but just barely. And now, damaged, they, in their separate ways, look to a Hillary presidency for healing and salvation."" --Peter Marks, Washington Post

Author Information

Lucas Hnath's plays include Hillary and Clinton, Red Speedo, The Christians, A Public Reading of an Unproduced Screenplay about the Death of Walt Disney, Isaac's Eye, Death Tax, and A Doll's House, Part 2. He is the recipient of numerous awards, including the Kesselring Prize, a Guggenheim Fellowship, the Whiting Award, an Outer Critics Circle Award, the Steinberg Playwright Award, an Edgerton Foundation New Play Award, an Obie Award, and the Windham-Campbell Prize for Drama. A New Dramatists Playwriting residency alumnus, he is a member of Ensemble Studio Theatre and a New York Theatre Workshop Usual Suspect.

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