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آدمای خوب
نامزد نهایی جایزهی تونی سال ۲۰۱۱
نامزد نهایی جایزهی درامادسک سال ۲۰۱۱
برندهی جایزهی حلقهی منتقدان نیویورک سال ۲۰۱۱
؛... یه بار ماشینمو توقیف کردن. چرا ماشینمو از دست دادم؟ چون یه قسطش عقب افتاد. چرا یه قسطش عقب افتاد؟ چون مجبور بودم بهجاش پول دندونپزشک بدم. چرا باید پول دندونپزشک میدادم؟... چون بیمه نبودم، یه دندون شکسته هم داشتم که شیش ماه بهش توجه نکرده بودم، تاجاییکه آبسه کرد. چرا یه دندون شکسته داشتم؟... چون یه شب فِک کردم یهکم پسانداز کنم، شام نخورم! اما گشنهم شد و تصمیم گرفتم یه تیکه شکلات بخورم. همهش همین بود: یه تیکه شکلات لعنتی، و دوباره یه کار رو از دست دادم... ؛
دیوید لینزیابِر (۱۴ نوامبر ۱۹۶۹ـ ) نمایشنامهنویس، فیلمنامهنویس، ترانهسرا و نویسندهی اشعار اپرا است که پیشتر برای نمایشنامهی لانهی خرگوش جایزهی پولیتزر سال ۲۰۰۷ را بهدست آورده است؛
آدمای خوب تازهترین نمایشنامهی این نویسنده است که سال ۲۰۱۱ نخستین بار در کلوب تئاتر منهتن در برادوی بهروی صحنه رفت و فرانسس مکدورمند برای بازی در آن برندهی جایزهی تونی شد. این نمایشنامه همچنین در لسآنجلس، سنتلوئیس، فرانکفورت و لندن اجرا شده است؛
نامزد نهایی جایزهی درامادسک سال ۲۰۱۱
برندهی جایزهی حلقهی منتقدان نیویورک سال ۲۰۱۱
؛... یه بار ماشینمو توقیف کردن. چرا ماشینمو از دست دادم؟ چون یه قسطش عقب افتاد. چرا یه قسطش عقب افتاد؟ چون مجبور بودم بهجاش پول دندونپزشک بدم. چرا باید پول دندونپزشک میدادم؟... چون بیمه نبودم، یه دندون شکسته هم داشتم که شیش ماه بهش توجه نکرده بودم، تاجاییکه آبسه کرد. چرا یه دندون شکسته داشتم؟... چون یه شب فِک کردم یهکم پسانداز کنم، شام نخورم! اما گشنهم شد و تصمیم گرفتم یه تیکه شکلات بخورم. همهش همین بود: یه تیکه شکلات لعنتی، و دوباره یه کار رو از دست دادم... ؛
دیوید لینزیابِر (۱۴ نوامبر ۱۹۶۹ـ ) نمایشنامهنویس، فیلمنامهنویس، ترانهسرا و نویسندهی اشعار اپرا است که پیشتر برای نمایشنامهی لانهی خرگوش جایزهی پولیتزر سال ۲۰۰۷ را بهدست آورده است؛
آدمای خوب تازهترین نمایشنامهی این نویسنده است که سال ۲۰۱۱ نخستین بار در کلوب تئاتر منهتن در برادوی بهروی صحنه رفت و فرانسس مکدورمند برای بازی در آن برندهی جایزهی تونی شد. این نمایشنامه همچنین در لسآنجلس، سنتلوئیس، فرانکفورت و لندن اجرا شده است؛
152 pages, Paperback
First published June 21, 2011
25 people are currently reading
581 people want to read
About the author
David Lindsay-Abaire
20 books67 followersDavid Lindsay-Abaire is an American playwright and lyricist. He received the Pulitzer Prize for Drama in 2007 for his play, Rabbit Hole.
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Displaying 1 - 30 of 90 reviews
March 16, 2023
میتونم بگم نمایشنامهی باحالی بود. اگه نویسنده خط داستانی رو جذابتر و ریتمدار میکرد، 5 هم جا داشت بگیره.
آدمای خوب روایتیه از آدم خوبا! همه آدمایی که در ارتباط با بقیه، هم به دیگران میگن و هم ازشون میشنون که: «باشه تو خوبی!» ( و خدایا، چقدر من از این جمله بدم میاد و اذیتم میکرد)؛ اما با یک تفاوت، این شخصیتها انگار ادا در نمیارن و مسئلهشون پیچیده تره. نویسنده به خوبی تونسته شخصیتهایی خلق کنه که وقتی مخاطب سوار ترن هواییِ نمایشنامه میشه، یه موقعهایی آدمای واقعا خوبیاند و یه موقعهایی، یا واقعا آدمای بدجنسیان، یا احمقن، یا نامردن، یا بدبخت و تحت تاثیر جبرن؛ یا شایدم هم خوبن و هم همه اینایی که گفتم با هم یا هیچکدوم!
اوج توانایی نویسنده رو وقتی میشه دید که در قسمت انتهایی نمایش مسئلهای رازگونه و اخلاقی رو مطرح میکنه که در اخر نیز، معلوم نمیشه که حقیقت داره یا نه؛ یه تعلیق نه هیجان انگیز، بلکه تامل برانگیز؛ دقیقا عین مسئله خوب بودن افراد تو این نمایشنامه. شخصیتهای این نمایشنامه توی خط اول دیالوگشون خوبن و توی خط بعدی، همه چیز شاید باشند، جز خوب. اما در نهایت نیز مرز خیلی خاصی نمیشه برای این خوب بودنه قائل شد.
اما واقعا آدمای خوب کیان؟ آیا هرکسی یه توجیهی برای کاراش نداره که خودشو خوب جلوه کنه و یا برعکس، هرکسی حتی موقعی که خودشو حسابی بد میدونه، دلیل برای مبرا شدنش نمیشه پیدا کرد؟
آدمای خوب روایتیه از آدم خوبا! همه آدمایی که در ارتباط با بقیه، هم به دیگران میگن و هم ازشون میشنون که: «باشه تو خوبی!» ( و خدایا، چقدر من از این جمله بدم میاد و اذیتم میکرد)؛ اما با یک تفاوت، این شخصیتها انگار ادا در نمیارن و مسئلهشون پیچیده تره. نویسنده به خوبی تونسته شخصیتهایی خلق کنه که وقتی مخاطب سوار ترن هواییِ نمایشنامه میشه، یه موقعهایی آدمای واقعا خوبیاند و یه موقعهایی، یا واقعا آدمای بدجنسیان، یا احمقن، یا نامردن، یا بدبخت و تحت تاثیر جبرن؛ یا شایدم هم خوبن و هم همه اینایی که گفتم با هم یا هیچکدوم!
اوج توانایی نویسنده رو وقتی میشه دید که در قسمت انتهایی نمایش مسئلهای رازگونه و اخلاقی رو مطرح میکنه که در اخر نیز، معلوم نمیشه که حقیقت داره یا نه؛ یه تعلیق نه هیجان انگیز، بلکه تامل برانگیز؛ دقیقا عین مسئله خوب بودن افراد تو این نمایشنامه. شخصیتهای این نمایشنامه توی خط اول دیالوگشون خوبن و توی خط بعدی، همه چیز شاید باشند، جز خوب. اما در نهایت نیز مرز خیلی خاصی نمیشه برای این خوب بودنه قائل شد.
اما واقعا آدمای خوب کیان؟ آیا هرکسی یه توجیهی برای کاراش نداره که خودشو خوب جلوه کنه و یا برعکس، هرکسی حتی موقعی که خودشو حسابی بد میدونه، دلیل برای مبرا شدنش نمیشه پیدا کرد؟
February 17, 2024
یه نمایشنامهی زنده و پر شور، خندهدار و در عین حال قابل تامل
که آدم خوبا یا شایدم اداییها درش نقش بازی میکنن و از بدبختیها و شانس، فقر و عواقبی که انتخابهاشون داشته باهم بحث میکنن، که البته آخرم نمیفهمیم کی راست میگه و کی دروغ.
چون در واقعیت هم آدم خوبا الزاما راستگو نیستن!
ولی از اکیپ مارگی و جین و داتی و استیوی خوشم اومد، در مجموع دوستای خوبی برای هم بودن، حیف که دستشون تنگ بود، اگه نه دریغ نمیکردن!😃
ولی حداقلش این بود که دستجمعی به فلاکت هم میخندیدن. :)))
که آدم خوبا یا شایدم اداییها درش نقش بازی میکنن و از بدبختیها و شانس، فقر و عواقبی که انتخابهاشون داشته باهم بحث میکنن، که البته آخرم نمیفهمیم کی راست میگه و کی دروغ.
چون در واقعیت هم آدم خوبا الزاما راستگو نیستن!
ولی از اکیپ مارگی و جین و داتی و استیوی خوشم اومد، در مجموع دوستای خوبی برای هم بودن، حیف که دستشون تنگ بود، اگه نه دریغ نمیکردن!😃
ولی حداقلش این بود که دستجمعی به فلاکت هم میخندیدن. :)))
January 27, 2018
Wow. My heart is broken. My world is changed. Love this kind of unreliable main character.
June 28, 2018
Oh. Mio. Dio.
Dov'è stato questo libro per tutto questo tempo?
Premetto subito che non leggevo una commedia dai tempi delle superiori con Goldoni 😂 (dettagli), ma ho letto un paio di sceneggiature lo scorso anno.
Beh, questo libro non ha niente a che fare. Darò un voto altissimo senza pensarci un attimo, perché mi ha fatto schiattare dal ridere e non ho sentito per niente la pesantezza della struttura del libro a commedia, appunto.
La descrizione delle scene non è affatto invasiva, a un certo punto smetti anche di leggere i nomi di chi parla perché ti sembra di stare in una stanza con loro e di sentire le loro voci: sai esattamente chi dice cosa, perché ogni frase è nel carattere di un determinato personaggio.
La storia narrata è quella di Margaret, che perde il lavoro all'improvviso in una cittadina sperduta senza prospettive. Margaret comincerà a cercare lavoro, aiutata dalle sue migliori amiche, e improvvisamente finirà nella casa di un medico, suo fidanzato d'infanzia. No, non ci sarà niente di romantico, non è questo lo scopo del libro!
La realtà della storia lascia senza parole, ma è accompagnata da così tanta assurdità e ironia da avermi fatto davvero ridere di gusto. Mi ha risollevato la giornata, nonostante tutta la drammaticità delle situazioni.
"Good people" è stato una piacevole sorpresa (e dire che non lo avevo neanche mai sentito nominare prima di adocchiarlo) e dopo averlo finito di leggere la sensazione è "ora cosa ne faccio della mia vita?"
Dov'è stato questo libro per tutto questo tempo?
Premetto subito che non leggevo una commedia dai tempi delle superiori con Goldoni 😂 (dettagli), ma ho letto un paio di sceneggiature lo scorso anno.
Beh, questo libro non ha niente a che fare. Darò un voto altissimo senza pensarci un attimo, perché mi ha fatto schiattare dal ridere e non ho sentito per niente la pesantezza della struttura del libro a commedia, appunto.
La descrizione delle scene non è affatto invasiva, a un certo punto smetti anche di leggere i nomi di chi parla perché ti sembra di stare in una stanza con loro e di sentire le loro voci: sai esattamente chi dice cosa, perché ogni frase è nel carattere di un determinato personaggio.
La storia narrata è quella di Margaret, che perde il lavoro all'improvviso in una cittadina sperduta senza prospettive. Margaret comincerà a cercare lavoro, aiutata dalle sue migliori amiche, e improvvisamente finirà nella casa di un medico, suo fidanzato d'infanzia. No, non ci sarà niente di romantico, non è questo lo scopo del libro!
La realtà della storia lascia senza parole, ma è accompagnata da così tanta assurdità e ironia da avermi fatto davvero ridere di gusto. Mi ha risollevato la giornata, nonostante tutta la drammaticità delle situazioni.
"Good people" è stato una piacevole sorpresa (e dire che non lo avevo neanche mai sentito nominare prima di adocchiarlo) e dopo averlo finito di leggere la sensazione è "ora cosa ne faccio della mia vita?"
May 5, 2023
Questo libro è un’opera particolare,
non è un romanzo vero e proprio, anche se alla fine le emozioni trasmesse sono alla pari di un testo narrativo; Good People è un’opera teatrale.
In Italia è conosciuto e portato in scena con il titolo Brave Persone.
L’autore è stato insignito nel 2007 del Premio Pulitzer per il teatro grazie all’opera Rabbit Hole.
Perché ho letto Good People?!?
Perché nasce e cresce nel cuore dell’America più vera, violenta e pura.
Siamo nella Lower End una zona ovest a South Boston e racconta di Margaret Walsh, madre di Joyce, ma prima di tutto parla di una donna single e disperata che lotta tenacemente e nei suoi continui affanni sta per cedere, quindi, come ultimo tentativo si affida alla speranza riposta in Mike Dillon, quel vecchio compagno di scuola -che era anche il suo ragazzo- e che ora vive in una bella casa, con una bella moglie ed è pure uno stimato dottore.
Cosa succederà nel futuro di Margie?!?
Non ci si può non incuriosire e sperimentarne la lettura, che si rivela frizzante, scattante, ironica e drammatica allo stesso tempo.
Le riflessioni indotte sono molteplici, dalle scelte che intraprendiamo a come reagiamo nelle difficoltà, senza dimenticare quel senso di gratitudine che rende tutto più incantevole.
“Avresti potuto scegliere. Ma se ti rende la vita più facile pensare che non avresti potuto, pensa pure quello che vuoi. Ma sappi che non è vero.”
Quanto contano le nostre scelte?
Come si fa a fare “pace” con il passato?
Quanto può cambiare il fatto di avere qualcuno che sappia consigliarci sopra le parti?
Solo dialoghi… mi sono molto divertita!
non è un romanzo vero e proprio, anche se alla fine le emozioni trasmesse sono alla pari di un testo narrativo; Good People è un’opera teatrale.
In Italia è conosciuto e portato in scena con il titolo Brave Persone.
L’autore è stato insignito nel 2007 del Premio Pulitzer per il teatro grazie all’opera Rabbit Hole.
Perché ho letto Good People?!?
Perché nasce e cresce nel cuore dell’America più vera, violenta e pura.
Siamo nella Lower End una zona ovest a South Boston e racconta di Margaret Walsh, madre di Joyce, ma prima di tutto parla di una donna single e disperata che lotta tenacemente e nei suoi continui affanni sta per cedere, quindi, come ultimo tentativo si affida alla speranza riposta in Mike Dillon, quel vecchio compagno di scuola -che era anche il suo ragazzo- e che ora vive in una bella casa, con una bella moglie ed è pure uno stimato dottore.
Cosa succederà nel futuro di Margie?!?
Non ci si può non incuriosire e sperimentarne la lettura, che si rivela frizzante, scattante, ironica e drammatica allo stesso tempo.
Le riflessioni indotte sono molteplici, dalle scelte che intraprendiamo a come reagiamo nelle difficoltà, senza dimenticare quel senso di gratitudine che rende tutto più incantevole.
“Avresti potuto scegliere. Ma se ti rende la vita più facile pensare che non avresti potuto, pensa pure quello che vuoi. Ma sappi che non è vero.”
Quanto contano le nostre scelte?
Come si fa a fare “pace” con il passato?
Quanto può cambiare il fatto di avere qualcuno che sappia consigliarci sopra le parti?
Solo dialoghi… mi sono molto divertita!
February 26, 2021
Here's a play that seems designed to lead toward a "gotcha" moment at the end. It doesn't save the play since just about everything that precedes it feels specious. Talented but here a lazy writer.
Capturing genuine dialogue rhythms doesn't in itself make for good dialogue. Lines aren't funny just because they're said with a Boston accent. Ending act one with a single foul word isn't "edgy". The overall dreariness of this play hinges on the fact that its tone is smart-alecky, with very little heart.
Capturing genuine dialogue rhythms doesn't in itself make for good dialogue. Lines aren't funny just because they're said with a Boston accent. Ending act one with a single foul word isn't "edgy". The overall dreariness of this play hinges on the fact that its tone is smart-alecky, with very little heart.
February 5, 2022
Does grinding poverty inevitably lead to the loss of humanity? David Lindsay-Abaire's play suggests that human charity persists even in the direst circumstances. The character of Margaret (played by Frances McDormand in the original production at Manhattan Theatre Club - God! I would have loved to see that!) - the character of Margaret is a great American archetype: a female Willy Loman, perhaps. Unlike Willy, who has nothing left when he has lost his job because there is no authentic self at his core, Margaret must persist in the face of the cruelest reversals. This is not a sentimental celebration of a proletarian hero. Lindsay-Abaire is not suggesting that there is nobility in poverty; he provides plenty of counter-examples in the play. The play also meets head-on the phenomenon of the first generation escapee (from the lower classes) who does everything possible to cover the tracks leading back to the ghetto. Why isn't Oprah a major player in the advancement of black social causes? Why is Obama frequently criticized as not being 'Black enough'? Although the theme of the arriviste has been central to European literature from its inception, it takes on a certain poignancy in the United States, because we like to tell ourselves that we are a classless society, in the sense that anyone can theoretically become anything they desire if they only have the drive, talent, determination and luck to pull it off. This play questions that assumption on many levels. The first scene of the second act is a balancing act: the characters are tip-toeing on a tightrope over a bottomless chasm, and the dramatic effect is breathtaking. Read it, see it. This is a great American play.
May 1, 2013
What does it mean to be a "good person" in hard economic times, when some do well and others seem to be hard on their luck? Is there luck or is it all about choices?
This is an American drama that shows the squeeze without didactic explanation or sentimentality. All but one of the characters started out in the same working-class neighborhood of South Boston, but some have ended up in different social positions. When Margie, a middle-aged single mom, loses her job, she reaches out to a friend from the neighborhood who made good in hopes of landing some work. The play puts human faces on statistics and creates a lively and witty drama about social stratification and class struggle.
And the majority of the roles in this play are good roles for women.
This is an American drama that shows the squeeze without didactic explanation or sentimentality. All but one of the characters started out in the same working-class neighborhood of South Boston, but some have ended up in different social positions. When Margie, a middle-aged single mom, loses her job, she reaches out to a friend from the neighborhood who made good in hopes of landing some work. The play puts human faces on statistics and creates a lively and witty drama about social stratification and class struggle.
And the majority of the roles in this play are good roles for women.
June 15, 2012
An excellently written play! If I were you and I lived anywhere near a production of this ... I'd knock people over to see it!
July 1, 2021
3: Insightful exploration into the nature of luck versus choice, Margaret's a menace but other than that... in one ear out the other. What am I missing?
Good People strongly resembles kitchen-sink drama but lacks, in my opinion, interesting characters. The play does go to considerable lengths to show us that you can't classify people as 'the one who got lucky and got out' and 'the one who had no choice so stayed behind', it is way more complicated than that, an agonizing, often unbalanced combination of choice, circumstance and luck. I really liked that it spoke about these themes in such depth. And, true enough, the exploration of shame, desperation, self-loathing, and pride led me to draw an interesting comparison between Margaret and her friends and the characters from Shameless (US) so it did get me thinking about different types of people and where they're coming from and how they are dealing with their lot in life but... the characters still managed to feel like stereotypes plucked out of South Boston and thrown onto the page. Literally every other play, film or tv-series I have seen that features a rough neighbourhood and ordinary people trying to survive attributes said people the exact same qualities. They are deeply human and fragile but always self-hating, proud and prone to grudges. On the one hand, that is human too and exploring it in media like theatre reveals how vulnerable and flawed we are and how, more often than not, it is society that drives us to bitterness and despair. On the other hand, there is more to a person born in a rough neighbourhood than pride, self-hate and grudges and I'd like to see more of that. There is, isn't there? There must be.
Margaret is at the centre of it all and truly, the only character that keeps the play from being totally boring. Being the unreliable narrator to end all unreliable narrators, she keeps you on your feet. You cannot pin her down and though you may think you know what she will do or say next, you're always in for a surprise. I thoroughly enjoyed it when she put the ex-boyfriend in his place towards the end (he really needed to take it down a notch) but then, in true unreliable narrator style, she went and undid it all leaving the reader baffled. I will venture to say (spoiler!) I believe the baby was indeed the ex-boyfriend's. She revealed it in a moment of emotional upheaval but when confronted with the weight of that truth pride took over again and she took it back. The wife had started cornering her as well so it makes sense. That is my interpretation at least. I don't think she was just blurting out lies to trick him into helping.
I'm keeping this one open to re-evaluation in case I ever get to see it on stage. The play as text wasn't that interesting. Maybe it was not my cup of tea or maybe I read the characters all wrong, whatever the case I'm keeping my fingers crossed for a performance 😊
Good People strongly resembles kitchen-sink drama but lacks, in my opinion, interesting characters. The play does go to considerable lengths to show us that you can't classify people as 'the one who got lucky and got out' and 'the one who had no choice so stayed behind', it is way more complicated than that, an agonizing, often unbalanced combination of choice, circumstance and luck. I really liked that it spoke about these themes in such depth. And, true enough, the exploration of shame, desperation, self-loathing, and pride led me to draw an interesting comparison between Margaret and her friends and the characters from Shameless (US) so it did get me thinking about different types of people and where they're coming from and how they are dealing with their lot in life but... the characters still managed to feel like stereotypes plucked out of South Boston and thrown onto the page. Literally every other play, film or tv-series I have seen that features a rough neighbourhood and ordinary people trying to survive attributes said people the exact same qualities. They are deeply human and fragile but always self-hating, proud and prone to grudges. On the one hand, that is human too and exploring it in media like theatre reveals how vulnerable and flawed we are and how, more often than not, it is society that drives us to bitterness and despair. On the other hand, there is more to a person born in a rough neighbourhood than pride, self-hate and grudges and I'd like to see more of that. There is, isn't there? There must be.
Margaret is at the centre of it all and truly, the only character that keeps the play from being totally boring. Being the unreliable narrator to end all unreliable narrators, she keeps you on your feet. You cannot pin her down and though you may think you know what she will do or say next, you're always in for a surprise. I thoroughly enjoyed it when she put the ex-boyfriend in his place towards the end (he really needed to take it down a notch) but then, in true unreliable narrator style, she went and undid it all leaving the reader baffled. I will venture to say (spoiler!) I believe the baby was indeed the ex-boyfriend's. She revealed it in a moment of emotional upheaval but when confronted with the weight of that truth pride took over again and she took it back. The wife had started cornering her as well so it makes sense. That is my interpretation at least. I don't think she was just blurting out lies to trick him into helping.
I'm keeping this one open to re-evaluation in case I ever get to see it on stage. The play as text wasn't that interesting. Maybe it was not my cup of tea or maybe I read the characters all wrong, whatever the case I'm keeping my fingers crossed for a performance 😊
August 22, 2025
Yeah David can write for sure. This is good stuff. Nothing for college age kids though other than the short scene in the beginning with a 50s woman but I would’ve loved to see Frances mcdormand do this. Great show.
March 28, 2020
Everything about Margie makes me anxious, which is exactly how it should be.
November 5, 2022
I don't enjoy reading plays in script format, but reading this along with my high school senior for high American Lit class.
December 6, 2015
I can see how this play is well written, but I still didn't like it very much. The dialogue is very natural and the characters more than stereotypes. The passive aggressive tone seems like it would be fun to play with by actors. I found myself in the uncomfortable position of hating every single character for being selfish and insecure. I couldn't bring myself to care about what happened to them, particularly Margie's financial woes (which is the crux of the play). I realize that characters must have flaws, but all the characters grated on my nerves as if they were made of nothing but their imperfections. Lindsay-Abaire is a great playwright, but I don't feel that this is his best work.
January 4, 2012
What feels like an early-twenty first century Boston take on Britain's "kitchen sink drama" becomes as much an examination of the deals we make with ourselves in order to stay or leave the neighborhood where we grew up. The ending is quietly hopeful. Very good.
March 10, 2023
Frances McDormand starred in this play on Broadway and I find it virtually impossible to read the script without hearing her very distinct voice and cadence. I don't mean that in a bad way at all, but I sure feel sorry for any other actor who ever tries to take on that part. Man, do I wish I'd seen that production!
As it is, this is one of those plays that just leaps right off the page, no actors necessary.
The lead character, Margie (hard g), is a struggling single mom with a handicapped adult daughter, living on the wrong side of the tracks in south Boston, always poor, one paycheck away from disaster.
The playwright's ear in this play is kind of remarkable. The flow and rhythm of dialogue among Margie and her friends is so natural it might be transcription. I've lived with those people. I’ve been poor in exactly the same way. I've had those exact same conversations.
Disaster strikes when Margie gets fired from her cashier job at the Dollar Store and hits up her old high school boyfriend for a job. Mike has escaped their lower-class roots and is now a doctor. He's also — possibly, probably — the father of Margie's daughter.
Again, here, Lindsay-Abaire just nails the sort of dark, teasing, secret-laden conversation that takes place between Margie and Mike — and later Margie and Mike’s wife — in a way that’s pure theatrical dynamite.
The play touches on class and race and, most importantly, how luck informs life to such a great extent. And Lindsay-Abaire makes the really interesting choice — logical in retrospect — to give the power, at the play's climax, to a character who seemed at first little more than a plot device.
Here are a few of my favorite lines:
"You're comfortable. Okay. I guess that makes me uncomfortable then. Is that what you call us lowly folk? Uncomfortable?"
And: "So? That's normal. To struggle. For most people, it's normal. Most people I know at least. That's just how it is. Just because we weren't comfortable doesn't mean we were miserable. I mean, I am NOW, but ..."
And this great speech from Margie, laying it all out on the line (I’ve cobbled a bit here):
"One time I got my car taken. Why'd I lose the car? Because I missed a payment. Why'd I miss a payment? Because I had to pay for a dentist instead. Why'd I have to pay the dentist? ... Because I didn't have insurance, and I cracked a tooth and ignored it for six months, until an abscess formed. Why'd I crack a tooth? Because one night I thought I'd save a little money, and skip dinner. But I got hungry and decided to snack on a piece of candy brittle. And that's all it took — a piece of fucking candy brittle, and I was out of a job again."
This is a great freaking play no one ever talks about. I totally wish I’d written it.
As it is, this is one of those plays that just leaps right off the page, no actors necessary.
The lead character, Margie (hard g), is a struggling single mom with a handicapped adult daughter, living on the wrong side of the tracks in south Boston, always poor, one paycheck away from disaster.
The playwright's ear in this play is kind of remarkable. The flow and rhythm of dialogue among Margie and her friends is so natural it might be transcription. I've lived with those people. I’ve been poor in exactly the same way. I've had those exact same conversations.
Disaster strikes when Margie gets fired from her cashier job at the Dollar Store and hits up her old high school boyfriend for a job. Mike has escaped their lower-class roots and is now a doctor. He's also — possibly, probably — the father of Margie's daughter.
Again, here, Lindsay-Abaire just nails the sort of dark, teasing, secret-laden conversation that takes place between Margie and Mike — and later Margie and Mike’s wife — in a way that’s pure theatrical dynamite.
The play touches on class and race and, most importantly, how luck informs life to such a great extent. And Lindsay-Abaire makes the really interesting choice — logical in retrospect — to give the power, at the play's climax, to a character who seemed at first little more than a plot device.
Here are a few of my favorite lines:
"You're comfortable. Okay. I guess that makes me uncomfortable then. Is that what you call us lowly folk? Uncomfortable?"
And: "So? That's normal. To struggle. For most people, it's normal. Most people I know at least. That's just how it is. Just because we weren't comfortable doesn't mean we were miserable. I mean, I am NOW, but ..."
And this great speech from Margie, laying it all out on the line (I’ve cobbled a bit here):
"One time I got my car taken. Why'd I lose the car? Because I missed a payment. Why'd I miss a payment? Because I had to pay for a dentist instead. Why'd I have to pay the dentist? ... Because I didn't have insurance, and I cracked a tooth and ignored it for six months, until an abscess formed. Why'd I crack a tooth? Because one night I thought I'd save a little money, and skip dinner. But I got hungry and decided to snack on a piece of candy brittle. And that's all it took — a piece of fucking candy brittle, and I was out of a job again."
This is a great freaking play no one ever talks about. I totally wish I’d written it.
June 2, 2021
After reading David Lindsay-Abaire’s Good People, I have come to the conclusion that the major moral problem the play poses is what does it mean to be a "good person" in hard economic times when some thrive and others seem to be down on their luck?
From the play, we learn that Margie and Mike grew up in Southie and there is tension between the two leads about how Mike was able to “escape”. Margie argues that the real reason Mike was able to “escape” Southie was that he had Dad who pushed him to succeed. Mike claims that he was able to get out because he worked very hard to gain scholarships that were then able to help him get out. Mike does not seem to credit his father for his accomplishments the way Margie does in her argument.
As I mentioned earlier, Margie and Mike grew up together in the same rough neighborhood but their lives lead them down completely different paths. Mike is living a lavish and cushy life, while Margie struggles just to get by. Desperate, prideful, and selfish- neither character lives up to the play’s title of “Good People”. I think the play is called Good People because that is the desired concept both Margie and Mike want to be. They want to be a good person by having a steady job, family, and overall life.
From my last sentence of the previous paragraph, I cannot say that Margie and Mike are “Good People”. From my definition, the two of them (individually) do not have a steady job, family, and overall life. Yes, the two of them have features of that but not everything in total. It seems Mike and Kate have marital problems and Margie does not have a steady job and I personally feel her life is a mess (for many reasons Lindsay-Abaire mentions in the play). If I was to select one character that went out of their way to be a good person was Stevie. Yes, he did fire Margie at the top of the play but that was because he had to do what was right for his job. Stevie had a sweet moment at the end of the play when it was revealed that he was the one who sent the money to cover Margie’s rent. Even though he didn’t need to he wanted to use his bingo money to help her out.
From the play, we learn that Margie and Mike grew up in Southie and there is tension between the two leads about how Mike was able to “escape”. Margie argues that the real reason Mike was able to “escape” Southie was that he had Dad who pushed him to succeed. Mike claims that he was able to get out because he worked very hard to gain scholarships that were then able to help him get out. Mike does not seem to credit his father for his accomplishments the way Margie does in her argument.
As I mentioned earlier, Margie and Mike grew up together in the same rough neighborhood but their lives lead them down completely different paths. Mike is living a lavish and cushy life, while Margie struggles just to get by. Desperate, prideful, and selfish- neither character lives up to the play’s title of “Good People”. I think the play is called Good People because that is the desired concept both Margie and Mike want to be. They want to be a good person by having a steady job, family, and overall life.
From my last sentence of the previous paragraph, I cannot say that Margie and Mike are “Good People”. From my definition, the two of them (individually) do not have a steady job, family, and overall life. Yes, the two of them have features of that but not everything in total. It seems Mike and Kate have marital problems and Margie does not have a steady job and I personally feel her life is a mess (for many reasons Lindsay-Abaire mentions in the play). If I was to select one character that went out of their way to be a good person was Stevie. Yes, he did fire Margie at the top of the play but that was because he had to do what was right for his job. Stevie had a sweet moment at the end of the play when it was revealed that he was the one who sent the money to cover Margie’s rent. Even though he didn’t need to he wanted to use his bingo money to help her out.
September 20, 2024
David Lindsay-Abaire’s Good People begs the question, is there such a thing as a good person?
Good can be defined in many ways — one being the measured success of one’s deeds in life. Did you start a family, did you buy a home, do you have a job, is your life good? Another definition might be the sanctity of one’s heart, mind, or spirit. Are you caring when it’s hard, do you sacrifice for others, do you show mercy when you have been wronged, are you good? These are the two “good” people shown in this play.
Mickey is the first — a man with harbored resentment for his past, living a life much different than his childhood. He lives in a rich part of town, dwelling in the success of his education and hard work. He has a beautiful wife and a perfect daughter. His life, is seemingly, good.
Margaret is the second — having grown up with Mickey but never having escaped. Her life is stagnant, a repeated cycle of difficulty after difficulty. Her own patience and service isn’t enough. She will never be successful, nor will she ever receive the credit she deserves for being “good.”
But neither deserve the title. Mikey harbors anger and lacks gratitude, his own pride blinding him from the lack of goodness within him. Margaret is a liar, but claims her motivations are selfless. There is no such thing as a selfless lie.
Lindsay-Albaire attempts to convey that no one is fully good, just as no one is fully evil. While this work lacks clarity and struggles to make the audience root for characters who are allegedly too accustomed to their upbringing to notice their faults of racism and bigotry (even toward one another), it is an overall enjoyable piece with a poignant question, leaving audiences to reflect on how good of a person they themselves claim to be.
Good can be defined in many ways — one being the measured success of one’s deeds in life. Did you start a family, did you buy a home, do you have a job, is your life good? Another definition might be the sanctity of one’s heart, mind, or spirit. Are you caring when it’s hard, do you sacrifice for others, do you show mercy when you have been wronged, are you good? These are the two “good” people shown in this play.
Mickey is the first — a man with harbored resentment for his past, living a life much different than his childhood. He lives in a rich part of town, dwelling in the success of his education and hard work. He has a beautiful wife and a perfect daughter. His life, is seemingly, good.
Margaret is the second — having grown up with Mickey but never having escaped. Her life is stagnant, a repeated cycle of difficulty after difficulty. Her own patience and service isn’t enough. She will never be successful, nor will she ever receive the credit she deserves for being “good.”
But neither deserve the title. Mikey harbors anger and lacks gratitude, his own pride blinding him from the lack of goodness within him. Margaret is a liar, but claims her motivations are selfless. There is no such thing as a selfless lie.
Lindsay-Albaire attempts to convey that no one is fully good, just as no one is fully evil. While this work lacks clarity and struggles to make the audience root for characters who are allegedly too accustomed to their upbringing to notice their faults of racism and bigotry (even toward one another), it is an overall enjoyable piece with a poignant question, leaving audiences to reflect on how good of a person they themselves claim to be.
This entire review has been hidden because of spoilers.
August 11, 2022
Owad’s Micro-Review #17
This play is a fast and nourishing read. It will comfort you if you’re afflicted and make you want to be kinder if you aren’t. The story follows Margie Walsh, a down-and-nearly-out dollar-store worker in South Boston who seeks salvation through an old boyfriend who has escaped the streets and become a doctor. Margie’s attempts to fend off homelessness make for an engrossing, life-affirming story and a superbly intelligent read—and a must-see if Covid ever ends and your local theater decides to produce it. Oct. 15, 2020
This play is a fast and nourishing read. It will comfort you if you’re afflicted and make you want to be kinder if you aren’t. The story follows Margie Walsh, a down-and-nearly-out dollar-store worker in South Boston who seeks salvation through an old boyfriend who has escaped the streets and become a doctor. Margie’s attempts to fend off homelessness make for an engrossing, life-affirming story and a superbly intelligent read—and a must-see if Covid ever ends and your local theater decides to produce it. Oct. 15, 2020
April 1, 2025
I read this book for my Boston Literature course, and I don't usually enjoy reading plays as I think they are much more powerful when watched. However, "Good People" was an entertaining commentary on Boston's social class divisions. Having lived in MA for the last few years, the Bostonian language is spot on. Mickey's secret was definitely not what I was expecting, and Margie's struggles were gut-wrenching. Overall a good, short read.
October 11, 2017
Margie and Mike grew up together in the same rough neighborhood but their lives lead them down completely opposite paths. One is living a lavish and cushy life, while the other struggles just to get by. Desperate, prideful, and selfish- neither character lives up to the title of being "Good People". Margie is a phenomenal character and would be a fantastic role for a seasoned actress.
May 31, 2019
I actually didn't read this, but just saw it as a play tonight, with wonderfully nuanced actors. "Good People" is a great title. Like an onion, the layers peel off of the people involved, and by the end you see the damage in everyone, as well as the damage they've done. It becomes a biting depiction of the differences of economics and class in America, taken down to a very human level.
November 23, 2017
Simple story. Tougher lesson. Sometimes the break just never comes and life just sucks. Doesn't make it any less important to try to be one of the "good people" these characters try to be/see themselves as.
January 31, 2020
The author focuses on particular conflicts and explores them tenaciously, so you get depth rather than breadth. He has a good ear for realistic dialogue yet is able to create the heightened tension needed for effective drama.
June 29, 2023
I perhaps wish Margaret’s friends were given a bit more to do, but she is nonetheless an incredible character who feels very whole. The way the story naturally touches on complex themes is fantastic, and I love the quiet, bittersweet ending.
June 20, 2025
Once I got into this it was BRILLIANT! Reminded me of Tracy Lett’s writing. Very well written and interesting characters. I found myself in shock towards the end! So gripping! The very end was a little tame I thought there might be one final shibang in the last scene - but still altogether great!
August 13, 2020
The best play ever...
Read
February 3, 2021"I hate to break it to you Dottie, but anything with googly eyes is crap."
February 10, 2021
Read this for my playwriting class. Dialogue was super engaging!
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