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Same Time Next Year
Full Length, Comedy 1 male, 1 female Interior Set One of the most popular romantic comedies of the century, Same Time, Next Year ran four years on Broadway, winning a Tony Award for lead actress Ellen Burstyn, who later recreated her role in the successful motion picture. It remains one of the world's most widely produced plays. The plot follows a love affair between two people, Doris and George, married to others, who rendezvous once a year. Twenty-five years of manners and morals are hilariously and touchingly played out by the lovers. "Delicious wit, compassion, a sense of humor and a feel for nostalgia."- The New York Times "Genuinely funny and genuinely romantic."- The New York Post
73 pages, Mass Market Paperback
First published January 1, 1975
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469 people want to read
About the author
Bernard Slade
18 books8 followersBernard Slade was a Canadian playwright and screenwriter.
Slade began his career as an actor with the Garden Center Theater in Vineland, Ontario. In the mid-1960s, he relocated to Hollywood and began to work as a writer for television sitcoms, including Bewitched. When ABC gave him the opportunity to create a series, he devised Love on a Rooftop, similar in theme to Neil Simon's Barefoot in the Park, about a young couple living in a windowless walk-up apartment with access to a rooftop with a view of San Francisco.
The following year, Slade created The Flying Nun (adapted from Tere Rios' book, The Fifteenth Pelican), with Sally Field as a young novice whose habit's headgear enabled her to fly. He also was responsible for The Partridge Family, based on the real-life Cowsills, and Bridget Loves Bernie, inspired by the play Abie's Irish Rose.
Slade returned to the theater in 1975 with his play Same Time, Next Year, about a couple who are married to others but meet once-a-year for sex and conversation. The play was a major hit and ran for 1453 performances. Slade received the Drama Desk Award and a Tony Award nomination for Best Play. In 1978, he followed with Tribute, the story of a man who learns to love his father, a successful actor who always had more time for his theatrical cohorts than his son. Slade was received an Oscar-nomination for his screen adaptation of Same Time, Next Year.
-From Wikipedia
Slade began his career as an actor with the Garden Center Theater in Vineland, Ontario. In the mid-1960s, he relocated to Hollywood and began to work as a writer for television sitcoms, including Bewitched. When ABC gave him the opportunity to create a series, he devised Love on a Rooftop, similar in theme to Neil Simon's Barefoot in the Park, about a young couple living in a windowless walk-up apartment with access to a rooftop with a view of San Francisco.
The following year, Slade created The Flying Nun (adapted from Tere Rios' book, The Fifteenth Pelican), with Sally Field as a young novice whose habit's headgear enabled her to fly. He also was responsible for The Partridge Family, based on the real-life Cowsills, and Bridget Loves Bernie, inspired by the play Abie's Irish Rose.
Slade returned to the theater in 1975 with his play Same Time, Next Year, about a couple who are married to others but meet once-a-year for sex and conversation. The play was a major hit and ran for 1453 performances. Slade received the Drama Desk Award and a Tony Award nomination for Best Play. In 1978, he followed with Tribute, the story of a man who learns to love his father, a successful actor who always had more time for his theatrical cohorts than his son. Slade was received an Oscar-nomination for his screen adaptation of Same Time, Next Year.
-From Wikipedia
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Displaying 1 - 27 of 27 reviews
February 3, 2022
I'm obsessed with this thirty-five year old play and I don't know why. Bernard Slade's 1975 Broadway success has been wildly successful, garnering international productions, a movie with Alan Alda and Ellen Burstyn, a musical and a sequel. I have no doubt it's Slade's "annuity play", meaning he probably makes a comfortable living off the royalties - the show is a staple of community theatre and summer stock. And now, after catching the latest production in Montreal, the play won't stop its ceaseless march through my brain.
The premise of the play is as elegant as it is simple: George and Doris, married to other people, meet once a year to continue an affair started one weekend in 1951. Each scene takes place at roughly five year intervals, allowing us to see the march of history reflected through the lovers - Doris goes through women's lib, George loses a son in Vietnam. The original play shows the lovers between 1951 and 1975; the sequel runs from 1976 - 1993. From a producer's standpoint it's a bit of a wet dream: a single set, two actors, the nostalgia factor. Actors meanwhile love the play because it provides a good showcase for their skills.
But I'm a writer first and the script is what impressed me the most. Musical theatre icon Stephen Sondheim once remarked that simplicity "takes the most effort in the world" and this is what struck me most about Slade's work. There's no plot and each scene is a single dialogue, done in real time. This is a play about character and character is always the hardest thing to write. Yet Slade makes it look effortless: George and Doris evolve and transform and yet never lose the essence of who they once were. Slade essentially wrote six one-act plays (twelve, if you count the sequel) and each one is a self-contained animal, much like a short story collection in which the stories are linked but exist perfectly on their own.
Equally noteworthy - especially given the play's immense popularity - is that it is a quietly subversive piece in that it champions adultery. Neither George or Doris are in terrible marriages - though they exchange "good" and "bad" stories of their home life, it becomes clear early on that they love their spouses. Though they have children, they aren't the reason neither George or Doris ever discuss divorce. Early on, they wrestle with the morals of their affair but before long they have come to accept Slade's unstated thesis: that no one person can ever satisfy our emotional (or sexual) needs.
None of this is directly discussed: the comedy and charm of the writing turns both the original and its companion into perfect spoonfuls of sugar. One could theorize that the play's tremendous popularity would imply that most of us, on some level, accept Slade's theory as fact. The play is, in a way, the perfect piece of pornography for the married middle class. Just as pornography portrays sex without consequence, so do does Slade's play portray adultery without punishment. Have audiences been allowing George and Doris to act out their greatest fantasy for thirty-five years? Is this the secret to the play's success?
You could read the script but plays are meant to be seen, so if there's no production happening nearby, go right to your favorite streamer: surely some kind soul uploaded the entire 1978 film. It has the slow pace typical of a 70's film, but Slade did the screenplay and it's a pretty faithful rendition of the script.
The premise of the play is as elegant as it is simple: George and Doris, married to other people, meet once a year to continue an affair started one weekend in 1951. Each scene takes place at roughly five year intervals, allowing us to see the march of history reflected through the lovers - Doris goes through women's lib, George loses a son in Vietnam. The original play shows the lovers between 1951 and 1975; the sequel runs from 1976 - 1993. From a producer's standpoint it's a bit of a wet dream: a single set, two actors, the nostalgia factor. Actors meanwhile love the play because it provides a good showcase for their skills.
But I'm a writer first and the script is what impressed me the most. Musical theatre icon Stephen Sondheim once remarked that simplicity "takes the most effort in the world" and this is what struck me most about Slade's work. There's no plot and each scene is a single dialogue, done in real time. This is a play about character and character is always the hardest thing to write. Yet Slade makes it look effortless: George and Doris evolve and transform and yet never lose the essence of who they once were. Slade essentially wrote six one-act plays (twelve, if you count the sequel) and each one is a self-contained animal, much like a short story collection in which the stories are linked but exist perfectly on their own.
Equally noteworthy - especially given the play's immense popularity - is that it is a quietly subversive piece in that it champions adultery. Neither George or Doris are in terrible marriages - though they exchange "good" and "bad" stories of their home life, it becomes clear early on that they love their spouses. Though they have children, they aren't the reason neither George or Doris ever discuss divorce. Early on, they wrestle with the morals of their affair but before long they have come to accept Slade's unstated thesis: that no one person can ever satisfy our emotional (or sexual) needs.
None of this is directly discussed: the comedy and charm of the writing turns both the original and its companion into perfect spoonfuls of sugar. One could theorize that the play's tremendous popularity would imply that most of us, on some level, accept Slade's theory as fact. The play is, in a way, the perfect piece of pornography for the married middle class. Just as pornography portrays sex without consequence, so do does Slade's play portray adultery without punishment. Have audiences been allowing George and Doris to act out their greatest fantasy for thirty-five years? Is this the secret to the play's success?
You could read the script but plays are meant to be seen, so if there's no production happening nearby, go right to your favorite streamer: surely some kind soul uploaded the entire 1978 film. It has the slow pace typical of a 70's film, but Slade did the screenplay and it's a pretty faithful rendition of the script.
This entire review has been hidden because of spoilers.
July 23, 2016
Stories involving extramarital affairs frequently appear to be fettered in their creative breadth by the negative connotations surrounding the concept. Nature and nurture have associated such a strong taboo around it that even contemplation of the topic is resisted by our mind as vigourously as the thought of death. Monogamy was essential for modern humans for multiple reasons including welfare of offsprings, prevention of diseases, and flourishing of societies. So, when a story dares to venture beyond being pontifical about an affair and explores a different mix of causes and results of such a dalliance, it provides enough reasons to pique the curiosity antennae.
Bernard Slade’s play Same Time, Next Year is a comic romantic drama that explores the extramarital relationship between its protagonists. The story is based on an interesting premise wherein George and Doris, two individuals happily married to their spouses, fall for each other after a chance encounter on a weekend of February 1952 in an inn on the Northern Californian coastline and keep coming back to the same place at the same time every year to continue their parallel relationship.
After the initial weekend, the subsequent acts involve a five year jump in time which gives the story enough time to pack significant life events in every segment. The narrative deftly puts forward the emotional conundrums that the two characters face at different stages of their respective lives while taking us through the evolutionary ride of their relationship. In fact, every change in the appearance and thinking of both characters feels organic and thus never gives any hint of being contrived to take the story forward.
Along the course of their yearly dalliances, George and Doris go through situations that only solidify their love and commitment for each other. Through a blend of light-hearted and tender conversations, we cannot help but feel warmth and affection towards the joys and travails of their relationship. In a particularly poignant moment when George decides to abandon their weekend, partly due to guilt and partly due to a call he gets from his daughter Debbie, Doris finally unmasks her emotions with restraint and calm that deeply resonate with both George and us.
Adding glitter to this fresh story is the timely puncturing of an intense, emotional conversation by an unintended gag, usually by George. For instance, on the morning after they first sleep together, George informs Doris of the incredible feeling of guilt overcoming him. Despite her strongest attempts at resistance, George’s incessant blabbering also achieves in evoking the same feeling in Doris. Just when this situation has become tense enough, George dares to ask her, “Would you go to bed with me again?”. When Doris tries to convince him of why that is not a good idea, George quips, “The Russians have the bomb! We could all be dead tomorrow!”
In essence, if the affair aspect can be kept aside, Same Time, Next Year invests successfully in showing how two individuals, free from flimsy societal constraints, can find (and sometimes need) a soothing and progressive outlet for their emotional and intellectual needs. To me, the story gives a message of not burdening any relationship with expectations greater than what it can handle and to allow it to gestate without any meddling.
Bernard Slade’s play Same Time, Next Year is a comic romantic drama that explores the extramarital relationship between its protagonists. The story is based on an interesting premise wherein George and Doris, two individuals happily married to their spouses, fall for each other after a chance encounter on a weekend of February 1952 in an inn on the Northern Californian coastline and keep coming back to the same place at the same time every year to continue their parallel relationship.
After the initial weekend, the subsequent acts involve a five year jump in time which gives the story enough time to pack significant life events in every segment. The narrative deftly puts forward the emotional conundrums that the two characters face at different stages of their respective lives while taking us through the evolutionary ride of their relationship. In fact, every change in the appearance and thinking of both characters feels organic and thus never gives any hint of being contrived to take the story forward.
Along the course of their yearly dalliances, George and Doris go through situations that only solidify their love and commitment for each other. Through a blend of light-hearted and tender conversations, we cannot help but feel warmth and affection towards the joys and travails of their relationship. In a particularly poignant moment when George decides to abandon their weekend, partly due to guilt and partly due to a call he gets from his daughter Debbie, Doris finally unmasks her emotions with restraint and calm that deeply resonate with both George and us.
"During the past year, I picked up the phone and started to call you ten times. I couldn’t seem to stop thinking about you. You kept slipping into my ‘real’ life and it scared the hell out of me. More to the point, I felt guilty. So I decided to stop seeing you.
At first, I wasn’t going to show up at all, but then I thought I at least owed you an explanation. So I came. When you walked in the door of the cottage, I knew I couldn’t do it. That no matter what the price, I was willing to pay it."
Adding glitter to this fresh story is the timely puncturing of an intense, emotional conversation by an unintended gag, usually by George. For instance, on the morning after they first sleep together, George informs Doris of the incredible feeling of guilt overcoming him. Despite her strongest attempts at resistance, George’s incessant blabbering also achieves in evoking the same feeling in Doris. Just when this situation has become tense enough, George dares to ask her, “Would you go to bed with me again?”. When Doris tries to convince him of why that is not a good idea, George quips, “The Russians have the bomb! We could all be dead tomorrow!”
In essence, if the affair aspect can be kept aside, Same Time, Next Year invests successfully in showing how two individuals, free from flimsy societal constraints, can find (and sometimes need) a soothing and progressive outlet for their emotional and intellectual needs. To me, the story gives a message of not burdening any relationship with expectations greater than what it can handle and to allow it to gestate without any meddling.
February 17, 2014
Although a little dated, a jewel of a piece about two people in love, outside of a traditional relationship. I really enjoyed the evolution of each character as they aged, and found myself invested in their growth together, as humans, as a couple, as individuals who come to know themselves, and each other so well.
February 6, 2016
I've always loved the movie but never read the play. It's basically word for word and one of my favorite stories.
I think one of the things that makes this special is this story wouldn't be believable if it was set in this day and age.
It's funny, romantic, honest, and just perfect.
I think one of the things that makes this special is this story wouldn't be believable if it was set in this day and age.
It's funny, romantic, honest, and just perfect.
February 12, 2013
مسرحية رائعة. ابطلها رجل وامرأه فقط. قلة الشخصيات عاده ما تجعل الروايات ممله ولكن في هذه المسرحية لم تشعر ابدا انك تحتاج الي اي شخصية اخرى. الكاتب استطاع جعلك مشدود بالمسرحية بدون اي مجهود. ارشحها بشده
October 8, 2021
Same Time Next Year is a two-person play where married people (but NOT TO EACH OTHER) meet once a year in the same place over 20 years to commit adultery. Each scene takes place about 5 years apart. They talk about their married lives, their kids, they share a good and bad story about their spouse that happened that year and etc etc
It's a fine read but it's probably a bore to see onstage. Two people just chatting about life. Who knows, maybe it's really dynamic with compelling actors and direction.
It's a fine read but it's probably a bore to see onstage. Two people just chatting about life. Who knows, maybe it's really dynamic with compelling actors and direction.
October 15, 2024
I've been a fan of the film for about 45 years so when I found the play in book form for less than a buck I bought it and left it on the shelf (for not quite 45 years)! Mr Slade wrote the screenplay too but there are slight differences in the play that I think were smart changes. I would tear up in all the same places while hearing Alan and Ellen in my head, anticipating the lines as I read since I know the movie so well. I could even picture the costume changes for the 6 acts that were described pretty accurately to my memories.
January 20, 2019
My reading goal for this year is to read more plays. Read them and then watch the same play on YouTube to see how close my imagination interpreted the play.
Having never seen this play, I was quite impressed by my first play selection of 2019! I enjoyed this play about George and Doris and how their affair, relationship, friendship and lives evolved over 25 years.
It challenges conventional thinking, which took it from 4 to 5 stars for me.
Having never seen this play, I was quite impressed by my first play selection of 2019! I enjoyed this play about George and Doris and how their affair, relationship, friendship and lives evolved over 25 years.
It challenges conventional thinking, which took it from 4 to 5 stars for me.
October 21, 2018
I remember seeing the movie years ago with Ellen Burstyn and Alan Alda and I loved it then. I read the play yesterday and loved it all over again. Think of it as a love story of a different type where two people who just met wind up in bed and make it a yearly ritual at the same spot. Hence, the name of the play.
June 27, 2020
Second time re read of this old beautiful play. I love this story. An unconventional love story, a lifetime affair they don’t try to explain. No justification. No apologies. They just enjoy the absolute present. Once a year, every year. Such a reminder that love is energy that binds and isn’t easily broken.
October 9, 2020
What a great story. This really opens your eyes to the importance of having other intimate people in your life. Look at the strength it brought these two. They were always emotionally there for each other even if there paths only crossed once a year. It soon became much more than sex, in a way they were each others therapist. Doris certainly was good for him.
This entire review has been hidden because of spoilers.
December 9, 2020
My favorite movie of all time. I didn't realize the movie really was almost identical to the play...but the dialog is almost all the same. I could hear Alan Alda's voice as I read the play...it was just perfect. I cant wait to read the sequel.
August 26, 2024
Reminds me of one of my favorite movies, Before Sunrise/Sunset/Midnight.
That it only has two characters that grow old only in their yearly affair--they are together only for the union, the sex, the companionship--it is a marvel!
What actors to play these two, huh!
That it only has two characters that grow old only in their yearly affair--they are together only for the union, the sex, the companionship--it is a marvel!
What actors to play these two, huh!
January 20, 2021
Funny and cute. ^_^
January 17, 2024
Clean and full of twitterpation
February 12, 2025
Funny book for sure! Doris and George have an interesting dynamic. And while their situation begins as funny and fun to watch, it evolves with the times and grows from a simple affair into a real entanglement in each other’s lives.
I loved how elements of the times were brought into their relationships and how it changed the subjects of their conversation due to the times.
Did not expect this situation out of this book to both warm my heart but also be funny and caring. Totally would recommend reading!
I loved how elements of the times were brought into their relationships and how it changed the subjects of their conversation due to the times.
Did not expect this situation out of this book to both warm my heart but also be funny and caring. Totally would recommend reading!
September 29, 2014
Truly believable romance. Great sense of humor. I have watched the movie tens of times, but reading it I could imagine George and Doris on my own. The dialogues are hilarious. I kept thinking, it could have happen to me, the story is so real. Great perspective on the past decades and what the times were like. Growing old, changing and staying the same at the same time. I will never get bored with this play!
March 9, 2008
I read the"novelization" (by Linda Stewart) of the screenplay. I really enjoyed it because I kept picturing the two characters as Ellen Burstyn and Alan Alda --who played the movie version.
February 12, 2010
I enjoyed this play far more than I expected to - and I would have loved to see Charles Grodin in the play!
November 18, 2015
Played the character "George" on stage at Shreveport Little Theater in Jan. 2010.
Want to read
September 12, 2016ebook available from:
http://openlibrary.org/books/OL519987...
http://openlibrary.org/books/OL519987...
May 30, 2016
The more George became less neurotic, the more I enjoyed this play. It definitely redeemed itself by the end of Act 2.
September 12, 2016
Watching these two reconnect over the years is interesting.
July 16, 2014
A sweet and touching comedy about a couple who remain devoted to one another for years, although not to their respective spouses.
May 20, 2018
Simple play. Read after I saw the movie. Quintessential type of play that was produced often in the 1970s.
*******
Rereading this on May 20, 2018.
*******
Rereading this on May 20, 2018.
August 24, 2015
My all time favorite play and movie!!!!
Displaying 1 - 27 of 27 reviews