This tool is unavailable at the moment. Please try again later.
Start planning your production with a cost estimate you can save and share with your team. Just answer a few questions.
This estimator is only for amateur productions. Professional customers should contact the Licensing department directly to enquire about a title's availability: [email protected]
Important: The cost quoted is an estimate only and may differ when you apply for a licence.
A SAMUEL FRENCH, INC. TITLE
Full-Length Play, Dramatic Comedy / 3w, 1m
Morgan Gould
Set in a Dunkin’ Donuts on the side of a Massachusetts highway, Jennifer, Who Is Leaving is a familiar and hilarious exploration of the expectations placed on women, the physical and emotional labor of being a caregiver, and what happens when we reach our breaking point.
Nan is working the night shift, fielding periodic calls from her retired husband with questions about reheating dinner and where his car keys are. Jennifer is trying to tune out Joey, her elderly patient who is relishing getting on her last nerve. And Lili is stressing out about her upcoming SATs. Set in a Dunkin’ Donuts on the side of a Massachusetts highway, Jennifer, Who Is Leaving is a familiar and hilarious exploration of the expectations placed on women; the physical, mental and emotional labor of being a caregiver; and what happens when we reach our breaking point.
NAN – Late 60s/70s, white, senior employee at the Dunkin’ Donuts. JENNIFER – Mid to late 40s, white, a nurse’s aide, very tired. LILI – Late teens, a high school student and part-time employee at the Dunkin’ Donuts. JOEY – 80s, a patient of Jennifer’s who is prone to outbursts, he’s gay and a mean old queen [though it doesn’t matter if the audience knows that part], who loves to be an asshole – like he TRULY enjoys it. Funny until he is not.
Author’s note: If you do not cast Jennifer and/or Nan as at least normal-sized or plus-size or fat actresses, I do not believe you fundamentally understand this play or these people. No one who works at a donut shop on a highway and is over the age of 40 is perfectly thin.
The Dunkin’ Donuts just off Route 495 in Wareham, Mass. Late winter. Late night.
“A scathing feminist comedy... a knockout play that should be destined for Broadway.” – DC Theater Arts
“[A] hilarious and meaningful play... The play’s socioeconomic themes and apt... perspective on women’s domestic burdens entwine with the often superb comedy.” – The Washington Post
“Definitely feminist. Scarily relatable. Wholly unfettered.” – Washington Blade
“A comic donut dipped in tears... Women’s exasperation with men has never been mined for the stage more hilariously and achingly.” – DC Theater Arts
“A terrific coup... hits all the right notes, deftly blending slice-of-life comedy with some deeply sobering realities about what goes on behind the closed doors of the various lives inhabiting this play... the play pulls no punches in terms of the darker (and disappointing) inner lives of its two central characters, but still somehow manages not to take itself too seriously.” – MD Theatre Guide
“A comedic blast of energy... a vital commentary on the expectations of women.” – Talkin’ Broadway
by Morgan Gould
by Sarah Ruhl
Sarah Ruhl