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Books by Suzan-Lori Parks Available from TCG
The America Play and Other Works
Also Includes:
Betting on the Dust Commander
The Death of the Last Black Man in the Whole Entire World
Devotees in the Garden of Love
Imperceptible Mutabilities in the Third Kingdom
Pickling
Essays
The Book of Grace
Father Comes Home from the Wars (Parts 1, 2 & 3)
The Red Letter Plays
Includes:
Fucking A
In the Blood
365 Days/365 Plays
Topdog/Underdog
Venus
The Book of Grace is copyright © 2016 by Suzan-Lori Parks
The Book of Grace is published by Theatre Communications Group, Inc.,
520 Eighth Avenue, 24th Floor, New York, NY 10018-4156
All rights reserved. Except for brief passages quoted in newspaper, magazine, radio or television reviews, no part of this book may be reproduced in any form or by any means, electronic or mechanical, including photocopying or recording, or by an information storage and retrieval system, without permission in writing from the publisher. Professionals and amateurs are hereby warned that this material, being fully protected under the Copyright Laws of the United States of America and all other countries of the Berne and Universal Copyright Conventions, is subject to a royalty.
All rights, including but not limited to, professional, amateur, recording, motion picture, recitation, lecturing, public reading, radio and television broadcasting, and the rights of translation into foreign languages are expressly reserved. Particular emphasis is placed on the question of readings and all uses of this book by educational institutions, permission for which must be secured from the author’s representative: Mark Subias, United Talent Agency, 888 Seventh Avenue, New York, NY 10106, (212) 659-2615.
The publication of The Book of Grace, by Suzan-Lori Parks, through TCG’s Book Program, is made possible in part by the New York State Council on the Arts with the support of Governor Andrew Cuomo and the New York State Legislature.
Special thanks to Paula Marie Black for her generous support of this publication.
TCG books are exclusively distributed to the book trade by Consortium Book Sales and Distribution.
Library of Congress Cataloging-in-Publication Data
Parks, Suzan-Lori.
The book of grace / Suzan-Lori Parks.
pages; cm
ISBN 978-1-55936-646-5 (ebook)
1. Fathers and sons—Texas—Drama. I. Title.
PS3566.A736B66 2015
812’.54—dc23 2014044577
Book design and composition by Lisa Govan
Cover painting and design by Rodrigo Corral Studio/June Park
First Edition, January 2016
For Buddy
And for Stephanie Ellen
Contents
Production History
Author’s Note on the Productions
Characters
From the Author’s Elements of Style
Prologue
Chapter 47
Chapter 48
Chapter 49
Chapter 50
Chapter 51
Chapter 52
Chapter 53
Chapter 54
Chapter X
The Book of Grace had its world premiere at The Public Theater (Oskar Eustis, Artistic Director; Andrew D. Hamingson, Executive Director) in New York on March 17, 2010. It was directed by James Macdonald; the set design was by Eugene Lee, the costume design was by Susan Hilferty, the lighting design was by Jean Kalman, the sound design was by Dan Moses Schreier, the projection/video design was by Jeff Sugg; the dramaturg was John Dias and the production stage manager was Amy McCraney. The cast was:
| Vet | John Doman |
| Buddy | Amari Cheatom |
| Grace | Elizabeth Marvel |
The Book of Grace opened at ZACH Theatre (Dave Steakley, Producing Artistic Director; Elisbeth Challener, Managing Director) in Austin, Texas, on June 4, 2011. It was directed by the author; the set and costume design were by Michael Raiford, the lighting design was by Jason Amato, the sound design was by Antonio Garfias, the video design was by Colin Lowry; the stage mangers were Ian Scott and Carmela Valdez. The cast was:
| Vet | Eugene Lee |
| Buddy | Shaun Patrick Tubbs |
| Grace | Nadine Mozon |
Author’s Note on the Productions
A Whole Can of Worms
In NYC, at The Public, we worked with a superb multiracial cast. In Austin, at ZACH, we worked with an equally superb cast, and chose to go ABC (All Black Casting). I feel that a monochromatic casting allows the production to embrace the more profound and thorny themes of the play. That said, I also understand that any casting choice will, especially with this play, open up its own can of worms.
