Geffen Playhouse’s 2025-26 Season Preview: Discover New Works by Athol Fugard, Pearl Cleage, and More World Premieres

Until now, Tarell Alvin McCraney\’s first year leading the Geffen Playhouse has included a robust revival of \”The Brothers Size,\” a joint production of \”Noises Off,\” along with a prominent presentation of \”Waiting for Godot.\”

Unknown to the general audience, during his time at the leading Westside theater, the playwright has been involved in workshops for almost all productions planned for the 2025-26 season. This initiative aims to establish the Geffen as both a hub for nurturing artistry and a stage for pushing creative boundaries and developing fresh pieces.

The idea evolved into a dream that ultimately materialized,” said the theater’s artistic director to The Times last week. “Having additional time for engaging with the plays, as well as collaborating with the playwrights and directors before productions—while perhaps unremarkable—is somewhat rare nowadays within the industry. Particularly outside major markets, regional theaters often select works that have already seen success elsewhere. Their focus during rehearsals tends to be heavily centered on refining the production rather than developing new ideas.

“Particularly when it comes to world premieres, I felt, ‘We should take our foot off the gas; we require more time for writers to truly dive deep into the core of their work—the engaging part—where they can delve into concepts, experiment, or determine what could be effective,’” he went on to say.

We’re ensuring that these artists feel nurtured and get acquainted with us as creators. In turn, we also gain insight into who they are, fostering potentially enduring connections through this process. This has been quite an engaging endeavor, yet it genuinely seems like we’re cultivating something exceptional which we can present to both our audience and community. We intend to continue down this path.

Geffen Playhouse revealed their lineup for the 2025-26 season during an event for patrons and members on Monday evening. The season kicks off with the debut of \”Am I Roxie?\” running from September 3rd through October 5th, created and starring Roxana Ortega. Directed by Bernardo Cubría at the Gil Cates Theater, this solo performance sees Ortega tackle themes of maternal mental health struggles using candidness, wit, and resilience as she embodies characters ranging from a sea creature-loving relative to a sharp-tongued guide.

Following is the world debut of Rudi Goblen\’s \”Littleboy/Littleman\” (from October 1st until November 2nd). This narrative revolves around two Nicaraguan siblings—one working as a consistent telemarketer, the other expressing himself through spontaneous verse—who come into conflict regarding their interpretations of the American Dream. Directed by Nancy Medina at the Audrey Skirball Kenis Theater, this performance merges elements of poetry, live musical accompaniment, and ceremonial practices to delve into themes of fraternity and identity.

\”Nothing’s first appearance should also be its final one; you always hope it marks the beginning of something bigger,” stated McCraney regarding the season\’s world premieres. “As a playwright, I understand that an initial staging can falter if it becomes too elaborate or rigid, preventing further development. The works featured this season hold promise for evolution, which is why they’re being paired with directors passionate about fresh material. We aim to facilitate their expansion, ensuring that early stagings attract interest from other theaters eager to contribute to their ongoing maturation.”

The Gil Cates Theater will host the West Coast debut of Douglas Lyons’ “Table 17” from November 5th through December 7th. This romantic comedy features a formerly betrothed pair who meet up at a dining establishment to delicately unravel their shared history with casual precision. Zhailon Levingston returns as director for this show after successfully leading its extended Broadway opening last year.

The New Year begins with the global debut of Beth Hyland’s “Sylvia Sylvia Sylvia” (from Feb. 4 through Mar. 8, 2026). This play centers around a novelist struggling with both writer\’s block and her spouse\’s growing celebrity status, finding refuge in an emblematic Boston residence previously occupied by Sylvia Plath and Ted Hughes. Under the direction of Jo Bonney at the Gil Cates Theater, this tragicomedy delves into themes of artistic creation, fixation, and the sacrifices involved in making great works of art.

The season proceeds with the debut in Los Angeles of Sara Porkalob\’s \”Dragon Mama,\” running from March 4 to April 12, 2026, after the success of her acclaimed production \”Dragon Lady.\” This latest chapter in the Dragon Cycle will be helmed by director Andrew Russell at the Audrey Skirball Kenis Theater. The solo performance featuring live music focuses on Porkalob’s mother, tasked with raising her four younger siblings and subsequently faced with a chance to pursue her personal aspirations.

McCraney stated, “Sara infused ‘Dragon Lady’ with such an intimate connection to our audience that we’re not ready to part ways,” and expressed his dedication to presenting Porkalob’s complete trilogy in Los Angeles. He added, “Our aim is for viewers to feel comfortable coming in thinking, ‘She will address us personally, share jokes with us, and perform alongside us.’”

Next up at the Gil Cates Theater from April 8 to May 10, 2026, is a renewed production of Athol Fugard’s profoundly intimate drama \” ‘Master Harold’…and the Boys.\” The setting is an apartheid-era South African teahouse where the critically acclaimed yet Tony-nominated work unfolds through the eyes of the white owner’s son and his relationship with the two Black servers who raised him. Their discussions delve into topics that test the delicate connections they share.

\”The play has always held a special place in my heart and has frequently occupied my thoughts. When we started looking into securing the performance rights, we learned about Athol’s passing,\” shared McCraney regarding the late playwright. “This seemed like an unmistakable indication that we must stage this critically significant work. The timing of the production serves as a reminder of essential issues and will facilitate profound discussions around complex societal questions—our relationships with one another and how systemic oppression makes it difficult for individuals to express love freely since true affection requires liberty.”

The season comes to an end with the first showing on the West Coast of Pearl Cleage’s “Angry, Raucous, and Shamelessly Gorgeous” (from June 10 through July 12, 2026). This play offers a blend of incisive wit and heartfelt humor as it follows a veteran performer attempting a return to stardom, only to find herself at odds with up-and-coming artists and advocates. Directed by LaTanya Richardson Jackson in the Gil Cates Theater, this production collaborates with the Black Rebirth Collective and receives partial funding from Cast Iron Entertainment.

I get irritated during the initial five to ten minutes of the play; however, this irritation helps me understand aspects of my own life better and offers an alternative viewpoint that leaves me feeling enriched,\” explained McCraney. \”The playwright has crafted a piece that resonates with experienced artists like ourselves, emphasizing the importance of making space for those born digital natives—individuals whose worldview differs significantly yet possess abundant creativity which could greatly benefit us all. As a community brimming with both established and upcoming talent across generations, we believe that due to its engaging brevity and strong focus on live performances, this production will serve as a delightful finale to our current season.

This tale initially surfaced in
Los Angeles Times
.