Clybourne Park

Clybourne Park

April 6 — May 5, 2013
On the U.S. Bank Main Stage

By Bruce Norris
Directed by Chris Coleman
“A spiky and damningly insightful new comedy.” —The New York Times

A white community in 1950s Chicago splinters over the black family about to move in. Fast forward to our present day and the same house represents very different demographics, and neighborhood values and tensions. Decades apart, neighbors pitch a hilarious—and appalling—battle over territory and legacy that forces us to consider how far our ideas about race have evolved—or not.

When our houses become our homes, and our neighborhoods become our identities, what will we do to protect them? And from what?

Clybourne Park won the 2012 Tony Award, the 2011 Pulitzer Prize and the 2011 Olivier Award for Best New Play.

Performance times:
Tuesday - Sunday evenings at 7:30 p.m
Saturday and Sunday matinees at 2 p.m.
Thursday matinees at noon

A full list of performances and dates will appear when you enter the ticketing section of the website.

Clybourne Park runs approximately two hours, including one intermission.

View the cast and creative team bios.

View the playbill for Clybourne Park.

Learn more about accessibility options at PCS.

Performance Times

Evenings: Tuesday - Sunday at 7:30 p.m.
Matinees: Saturday and Sundays at 2 p.m.,
Thursdays at noon

*Note: These are general performance times. Certain productions may have exceptions. View the season calendar for more information.

This show's run time will be posted below the synopsis at left near the date of the first performance.

Production blog

2013 Year in Review

2013 Year in Review

31 December 2013 & Posted by Alice Hodge

It’s that time of year.


Portland, Through the Eyes of Portlanders

01 May 2013 & Posted by Kinsley Suer

To coincide with our production of Clybourne Park, we’ve asked our audiences to share their thoughts about Portland neighborhoods on our giant Portland map. With each colored sticky note, Portlanders were asked to consider why they live where they live, why they would want to live in a different neighborhood, and why they would never live in a certain area. Now that the map has been populated with a rainbow of sticky notes, we’re able to see that our patrons come from neighborhoods all over the city, and have quite diverse opinions about where they would and would not want to live.


Behind the Scenes of “Clybourne Park”

18 April 2013 & Posted by Kinsley Suer

How does the set for Clybourne Park morph from 1959 to 2009 so quickly? How long did it take to build? How do those trees behind the set look so real? And does Sal Viscuso actually get to eat Neapolitan ice cream on stage every night? Group Sales & Promotions Manager Mandy Morgan takes us behind the scenes on the set of Clybourne Park.



Portland Center Stage 25th Anniversary 15-second spot View on Vimeo »

Reviews and Features

Marty Hughley | The Oregonian [Review 23 Apr 2013]

Principles are important. But you can’t live in a principle, you have to live in a house.

Some variation of that idea is expressed in both Act I and Act II of Bruce Norris’ Pulitzer-winning play “Clybourne Park,” which flips the script on the themes of race, real estate and social justice of the classic “A Raisin in the Sun”—first as an alternate view into the original 1959 story, then as a sequel set 50 years later. Part of Norris’ point is that the intersection of principle and practicality can be a confusing place, complicated by self-interest, group interest or even mortgage interest. There’s also the idea that territorialism is the principle that trumps all.

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Rebecca Jacobson | Willamette Week [Review 23 Apr 2013]

Bruce Norris’ Clybourne Park—the first work to win the triple crown of the Pulitzer, Tony and Britain’s Olivier—is one of the most produced plays among regional companies. I haven’t seen the play elsewhere, but I’m sure Portland Center Stage’s bracing production could contend with the best of them: Norris’ script is acerbic, smart and frequently uproarious, and the PCS cast, under director Chris Coleman, is superb. As in The Pain and the Itch, produced last year at Third Rail, Norris goes for the jugular. But unlike in that play, Clybourne’s characters retain shreds of likeability even while telling racist jokes and treading taboo waters. All told, it makes for a full-throttle experience that claws at our conceptions about race, prejudice and social propriety.

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Gigi Little | Ut Omnia Bene [Review 23 Apr 2013]

Good theater should be a conversation starter. I’ve always loved the live experience of theater, the laughter of a full audience, the sets, the way actors bring life to a story—but I really love it when, after Stephen and I have enjoyed a play, we leave the theater in deep conversation over the themes and issues brought up. I’ve noticed lately that Portland Center Stage in particular seems to choose their plays with the aim of initiating a dialogue. In fact, after Friday night’s production of Bruce Norris’ Clybourne Park, we and the rest of the audience were invited to stay in the theater for a Q&A with some of the actors. And the same open dialogue is offered after almost every performance of the play down at the Gerding Theater. How cool is that?

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Aaron Scott | Portland Monthly [Review 16 Apr 2013]

What do white women and tampons have in common? Do black men ski? These aren’t the sorts of things decent folks are supposed to talk about—and certainly not in public. But they’re the smoldering social issues that fuel Bruce Norris’s blistering Clybourne Park. The Pulitzer-winner play so gleefully dramatizes the taboo topics that make people uncomfortable—race, suicide, privilege—that the result of Portland Center Stage’s fabulous production is a shared exorcism of sorts, with laughter as our holy ghost.

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Bob Hicks | Oregon ArtsWatch [Review 15 Apr 2013]

As the lights dropped Friday night and the crowd leapt to its feet at the end of Portland Center Stage’s rousing opening-night performance of “Clybourne Park” it seemed not really an ending at all, just a quick pause before the next chapter in a continuing saga. And oddly, that felt good. The play’s two acts are set 50 years apart, with a lot of surface progress but the same old bugaboos of race and privilege lurking in the background, and if the ending feels a bit un-finalized, that’s really only a reflection of the reality behind the story. Things begin and end for specific characters, but the conditions under which they live their lives just keep rolling along. It’s not a bad thing at all to walk out of a theater thinking, “I wonder what happens next?”

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For current and upcoming shows, please see our Season Calendar.

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