The Year of Magical Thinking

The play

On March 29, 2007, Didion's adaptation of her book for Broadway, directed by David Hare, opened with Vanessa Redgrave as the sole cast member. The play expands upon the memoir by dealing with Quintana's death. It ran for 24 weeks at the Booth Theatre in New York City and the following year Redgrave reprised her role to largely positive reviews at London's National Theatre.[10] This production was set to tour the world, including Salzburg, Bath and Cheltenham.[11] The play was also performed in the Sydney Theatre Company's 2008 season, starring Robyn Nevin and directed by Cate Blanchett.[12] Also in 2008, it was performed in Barcelona at the Sala Beckett, directed by Òscar Molina and starring Marta Angelat. The play was performed in Canada at the Belfry Theatre in 2009 and at the Tarragon Theatre by Seana McKenna.[13] This production was also mounted in January 2011 as part of English Theatre's season at the National Arts Centre in Ottawa. On October 26, 2009 Redgrave reprised her performance again in a benefit production of the play at the Cathedral Church of St. John the Divine in New York City.[10] In January 2010, the play was mounted at the Court Theater in Chicago, starring Mary Beth Fisher. Fisher won the 2010 "Jeff" (Joseph Jefferson equity) Solo Performance Award for her performance. The play was mounted in April 2011 by Nimbus Theater in Minneapolis, MN, starring Barbra Berlovitz and directed by Liz Neerland.[14][15] In 2011, Fanny Ardant played a French translation of The Year of Magical Thinking in Théâtre de l'Atelier, Paris. The play opened in May 2015, at Teatro Español y Naves del Español in Madrid (Spain), produced by Teatro Guindalera. Starring Jeannine Mestre, directed by Juan Pastor Millet. The Norwegian translation of the play premiered in September 2015 at Den Nationale Scene in Bergen, directed by Jon Ketil Johnsen and starring Rhine Skaanes.[16] On November 3, 2017, Stageworks Theatre in Tampa, FL opened a production of the play featuring Vickie Daignault. Writing in the Tampa Bay Times, Colette Bancroft noted Daignault's "skill and subtlety" and the exploration of grief in Didion's play that was "raw and refined at once."[17]

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