Overview

Ike Holter’s taut and fast-paced The Wolf at the End of the Block tells the story of a young Latino named Alejandro, known as Abe, who seeks justice after being beaten by a Chicago policeman. A mystery that envelops Abe, his protective sister, and his boss, as well as the police department and a zealous investigative reporter, the play slowly discloses the hidden motives of the characters and the nature of a community long subjected to institutionalized oppression and neglect.   The Wolf at the End of the Block complicates and illuminates this urgent and timely story of police violence by avoiding the clichÉs of faultless victims and two-dimensional villains. Praised for its power and grace, the play is one of Holter’s most unforgettable.   The Wolf at the End of the Block is one of seven plays in Holter’s Rightlynd Saga, set in Chicago’s fictional fifty-first ward. The other plays in the cycle are Rightlynd, Exit Strategy, Sender, Prowess, Red Rex, and Lottery Day.

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Reviews

The beauty of Ike Holter's play is how deftly Holter turns a sensational incident into the catalyst for a complex morality tale . . . all the performances in this fine production reveal the full power and grace in Holter's story. From the first moments of the play we are pulled in, and we remain enthralled throughout. -Jack Helbig, Chicago Reader . . . a modern masterpiece... The cast in this production is superb... director Lili-Anne Brown's vision make this production just as powerful as the premiere, if not more so -Mary Kroeck, NewCity Set in Chicago, it's a chilling drama about the kind of crime that often goes unreported and leaves its victims to navigate their lives from a place of distrust and shame and rage . . . Holter's dialogue is scathing in its exploration of the intersection of racism and privilege and violence . . . The cast is flawless -Catey Sullivan, Windy City Times

Set in Chicago, it's a chilling drama about the kind of crime that often goes unreported and leaves its victims to navigate their lives from a place of distrust and shame and rage... Holter's dialogue is scathing in its exploration of the intersection of racism and privilege and violence... The cast is flawless --Catey Sullivan, Windy City Times ...a modern masterpiece... The cast in this production is superb... director Lili-Anne Brown's vision make this production just as powerful as the premiere, if not more so --Mary Kroeck, NewCity The beauty of Ike Holter's play is how deftly Holter turns a sensational incident into the catalyst for a complex morality tale... all the performances in this fine production reveal the full power and grace in Holter's story. From the first moments of the play we are pulled in, and we remain enthralled throughout. --Jack Helbig, Chicago Reader

. . . a modern masterpiece... The cast in this production is superb... director Lili-Anne Brown's vision make this production just as powerful as the premiere, if not more so --Mary Kroeck, NewCity Set in Chicago, it's a chilling drama about the kind of crime that often goes unreported and leaves its victims to navigate their lives from a place of distrust and shame and rage . . . Holter's dialogue is scathing in its exploration of the intersection of racism and privilege and violence . . . The cast is flawless --Catey Sullivan, Windy City Times The beauty of Ike Holter's play is how deftly Holter turns a sensational incident into the catalyst for a complex morality tale . . . all the performances in this fine production reveal the full power and grace in Holter's story. From the first moments of the play we are pulled in, and we remain enthralled throughout. --Jack Helbig, Chicago Reader

Author Information

Ike Holter is a resident playwright at Victory Gardens Theater and the artistic director of The Roustabouts. His plays have been produced at the Steppenwolf Garage, the Philadelphia Theatre Company, Off-Broadway at Barrow Street Theatre and Cherry Lane Theatre, and elsewhere. He is the 2017 winner of the Windham-Campbell Literature Prize for drama.

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