Long Night of the American Dream
by Martin Dockery
Concrete Drops Theatre - New York, NY
V.5 - Alloway Hall - Manitoba Museum 
Best new play of the year! An exciting, divisive, heartfelt, ridiculous, enraging, funny and head-spinning two-person play about the spasmodic slumber and voluptuous visions of a knackered nation. Directed by Vanessa Quesnelle, performed by Andrew Broaddus and Martin Dockery (winner of over 50 festival awards from 15 years of touring). Previous shows by Martin Dockery: The Stakeout, The Sex Life of Butterflies, Moonlight After Midnight, and many more. Also currently at this year's Fringe: Every Good Story Ends With One.
A world premiere.

Andrew Broaddus & Martin Dockery

Vanessa Quesnelle

Show Info:
75 Minutes


Thu July 20 2:45 PM*
*(2 for $12)
Sat July 22 8:15 PM
Sun July 23 11:15 AM
Mon July 24 3:00 PM
Thu July 27 9:45 PM
Fri July 28 6:15 PM
Sat July 29 2:45 PM
Sun July 30 12:30 PM+
+ASL Interpretation

Long Night of the American Dream

Concrete Drops Theatre—Alloway Hall – Manitoba Museum

This play, like Waiting for Godot, goes in circles and the plot, if there is one, is muddled and takes the form of an ongoing argument between two brothers about the play itself and each other’s roles and failures. The alleged play never happens, unless what we are experiencing IS the play, which seems more likely after one of them finds a manuscript about two brothers having an ongoing argument about a play which they are meant to be following. It’s like being in a chamber of mirrors. You’re not sure if what the actors are saying is what they are saying as actors discussing the play they are about to perform, or it is part of the newly discovered script they are now following. In fact they don’t seem to know themselves. This weird uncertainty, and the brothers’ sibling rivalry leads to a lot of dark humour and lots of laughs. But references to the divisions within American society start sneaking into the back-and-forth between the brothers, topics like immigration, abortion, guns, and contested elections. The brothers start to resemble the irreconcilable poles of American society. They sort of reconcile at the end, but not really, which seems to be the point.

Throughout, the actors are amazingly able to maintain our uncertainty about whether they are actually acting in a play, or not. They tease the audience with pregnant pauses which falsely promise a return to an actual script and theatre norms, which never happens. In the end we have to accept that what we have witnessed is a play, the essence of which is a glancing critique of American society. And as in Sartre’s No Exit, it suggests that Americans have made their own kind of hell.

Jeremy Hull

Long Night of the American Dream

Concrete Drops Theatre—Alloway Hall – Manitoba Museum

Martin Dockery is back with a new script for him and (his bro?) Andrew Broaddus and directed by Marty’s wife Vanessa Quesnelle. Now they came here with a script, he came with a script…sort of. They, he, him explain the whole play, in a play about 2 actors playing 2 actors that are supposedly brothers in real life learning a script. To the point you want pull your hair out! It’s two squabbling actors acting…with a script or no script? The chemistry…or no chemistry?

You decide…you have to go through it with them to decide. Decisions, decisions, decisions!

Kevin Campbell

Long Night of the American Dream

Concrete Drops Theatre—Alloway Hall – Manitoba Museum

A show about a show about a show. For any fans of Martin Dockery, this is an absolute must see. Featuring the same cast and director as last year’s The Stakeout, Andrew Broaddus and Martin Dockery, with Vanessa Quesnelle directing, the same meta impulses are on full display to great effect. Without getting into any spoilers, the dialog is superb, an extremely strong back and forth patter with constant callbacks and repeated motifs, and the characters reveal a ton of depth over the show’s progression that is hidden by the show’s seemingly simple structure and character beats. Superb, and definitely one that both deserves to sell out every performance, and will, reader beware.

Josh Fidelak