A lost US classic and Pulitzer Prize winner.

Does the private life of a public figure belong to the world? 

It is a question of our time, in the age of YouTube, selfies, and instant broadcasts, but Susan Glaspell’s Alison’s House, a play from 1930 set in 1899, starts with this very question. 

Inspired by the life and work of the American poet Emily Dickinson, the play is set by Glaspell in her native Iowa. It is 18 years since Alison Stanhope, the country's foremost poet, died. Now the house she lived in must be sold, but it holds secrets.

Did Alison sacrifice the man she loved for the sake of her family's reputation? And whom do such sacrifices benefit? The play's struggles are set in 1899, on the cusp of the 20th century, in which very different values will come to prevail.

Alison's House was first produced at Eva Le Gallienne's Civic Repertory Theatre on 14th Street, New York, on 1 December 1930 where it was given 25 performances in the regular repertory season when, unexpectedly, it was awarded the Pulitzer Prize for Drama in 1931. The win was controversial and it was the first time the prize had been awarded to a woman. 

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Running time: 130 minutes including interval

Producers: Julie Baz and David Jeffrey
Director: Julie Baz
Stage Manager: Rebecca Lang
Set Design: David Jeffrey
Lighting Design: Mehran Mortezaei
Sound Design: Thomas E. Moore

Cast: Matthew Bartlett, Veronica Clavijo, Penny Day, Dominique De Marco, Elliott Falzon, Pheobe Fuller, David Jeffrey, Brendan Lorenzo, James Martin, Tasha O'Brien, Sarah Plummer

Susan Keating Glaspell (July 1, 1876 – July 27, 1948) was an American Pulitzer Prize-winning playwright, actress, director, novelist, biographer and poet. She was a founding member of the Provincetown Players, one of the most important collaboratives in the development of modern drama in the United States. She also served in the Works Progress Administration as Midwest Bureau Director of the Federal Theater Project.

Her novels and plays are committed to developing deep, sympathetic characters, to understanding 'life' in its complexity. Though realism was the medium of her fiction, she was also greatly interested in philosophy and religion. Many of her characters make principled stands.

As part of the Provincetown Players, she arranged for the first ever reading of a play by Eugene O'Neill.