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“Mr. Eno has established himself as one of the most vital, distinctive voices in the American theater over the past decade. Once encountered, his style is not likely to be forgotten: Wryly humorous and deeply engaged in the odd kinks and quirks of language and its fuzzy relationship to meaning, his plays are also infused with a haunted awareness of, and a sorrowful compassion for, the fundamental solitude of existence.” –New York Times“An anarchic and deliciously clever play.” –Huffington PostThis wildly funny and subversive take on the archetypal family drama is dense with authentic feeling and pain and it ultimately evolves into something haunted and mysterious and grand, even hopeful. The Open House won a Drama Desk Award, the 2014 Obie Award for Playwriting and the 2014 Lucille Lortel Award for Outstanding Play. It was on the Top Ten Plays of 2014 lists of TIME magazine, Time Out New York and the NY Daily News. Will Eno is the author of The Realistic Joneses and Thom Pain (based on nothing) , which was a Pulitzer Prize finalist. Other works include Middletown, The Flu Season, Tragedy: a tragedy, Intermission and Gnit. He is a Residency Five Fellow at Signature Theatre in New York. His many awards include the PEN/Laura Pels Award, the Horton Foote Prize and the first-ever Marian Seldes/Garson Kanin Fellowship by the Theater Hall of Fame.

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– Premiered at Yale Rep starring playwright-actor Tracy Letts (author of August: Osage County) in May 2012 to great critical acclaim- March 13 – July 6, 2014: Will receive its Broadway premiere directed by Sam Gold and starring Marisa Tomei, Michael C. Hall (Dexter), Tracy Letts, Toni Collette (Little Miss Sunshine, The Sixth Sense)– Will Eno has been called “A Samuel Beckett for the Jon Stewart generation” – New York TimesAwards for Will Eno:– Pulitzer finalist for Thom Pain (based on nothing)– 2012 PEN/Laura Pels International Foundation for Theater Award- 2004 Oppenheimer Award for best debut by an American playwright (The Flu Season)– Horton Foote Prize for MiddletownOther productions of Eno’s work:– The Flu Season: Jan 22 – Feb 16, 2014: Single Carrot Theatre in Baltimore, MD- The Open House *world premiere*: Feb 11 – Mar 23 at Signature Theatre in NYC- Gnit (soon to be published by TCG): Feb 20 – Mar 15, 2014 at The Blue Barn Theatre in Omaha, NE- Middletown: May 23 – Jun 14, 2014 at Catastrophic Theatre in Houston, TX and Aug 21 – Sept 19, 2014 with Harlequin Productions in Olympia, Washington – Lives in Brooklyn, NY

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“The marvel of Mr. Eno’s new version is how closely it tracks the original while also being, at every moment and unmistakably, a Will Eno play. After climbing the craggy peaks of Ibsen’s daunting play, Mr. Eno has brought down from its dizzying heights a surprising crowd-pleasing (if still strange) work.” — Charles Isherwood, New York Times“Gnit is classic Will Eno. By that I mean I was thrilled by it.” — Kris Vire, TimeOut Chicago“If ever a play made me want to be a better person, this is it.” — Bob Fischbach, Omaha World-HeraldPeter Gnit, a funny enough, but so-so specimen of humanity, makes a lifetime of bad decisions on the search for his True Self. This is a rollicking yet cautionary tale about (among other things) how the opposite of love is laziness. Gnit is a faithful, unfaithful and willfully American misreading of Henrik Ibsen’s Peer Gynt (a nineteenth-century Norwegian play), written by Will Eno, who has never been to Norway.Will Eno’s most recent plays include The Open House (Signature Theatre, New York, 2014; Obie Award, Lucille Lortel Award for Best Play) and The Realistic Joneses (Yale Repertory Theatre, New Haven, 2012; Broadway, 2014). His play Middletown received the Horton Foote Prize and Thom Pain (based on nothing) was a finalist for the 2005 Pulitzer Prize. Mr. Eno lives Brooklyn.

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–First collection of plays by the author of 'Thom Pain' -'Flu Season' won the Oppenheimer Award for Best Debut Play of the 2004 Season, given by Newsday -Cover design by John Gall

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* Winner of the First Fringe Award at the Edinburgh Festival * May be the hardest ticket to get in New York

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– Thom Pain (based on nothing)  will run at Signature Theatre in New York from October 23 – November 25, 2018. Will Eno was the first writer to complete Signature's Residency 5 program, and this will be his first Legacy production at the theater. The production will feature Golden Globe Award-winner Michael C. Hall (“Dexter,” “Six Feet Under,”  The Realistic Joneses ).  – Thom Pain  was a finalist for the 2005 Pulitzer Prize for Drama and received the coveted Fringe First Award at the Edinburgh Festival. – The play has been translated into over a dozen languages, and since 2005 has been produced regularly around the U.S. and the world. – Eno has also won the 2012 PEN/Laura Pels International Foundation for Theater Award, the 2004 Oppenheimer Award for best debut by an American playwright ( The Flu Season ), and the Horton Foote Prize for  Middletown.

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From the last lonely wilderness, the last dark corner of these overlit times, in the camouflage of the common man, Thom Pain takes the stage, fumbling with his heart, squinting into the light. With terrible timing and impeccable regret, over-educated in the wrong ways, and wounded in the right ones, he appears. Teeth bared, as he picks a piece of lint off his suit.Listen to the language writhe, as he tries to say hello. Meet Thom Pain. A man who has only had, by his own reckless reckoning, three or four things happen to him in life. A man who is, by his own admittedly uninformed admission, a man much like a man or woman like you. Thom Pain opened at the Edinburgh Fringe in 2004, with a transfer to the Soho Theatre later that year.

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Five short plays by Will Eno: ‘Behold the Coach, in Sorrow, Uninsured’, ‘Ladies and Gentlemen, the Rain’, ‘Enter the Spokeswoman, Sideways’, ‘The Bully Composition’ and ‘Oh, the Humanity’The five short plays that make up Oh, the Humanity and other good intentions move toward feeling by way of thought, and toward gratitude by way of loss. These largely sane plays feature people alone or in pairs, or both, attempting to present themselves in the best light, or ultimately, desperately, in any light. Inadvertently vulnerable, or unconsciously callous, or both, the characters here realize they are stuck in a body, and try to put the best face on it. They are, at times, like all of us, unsure of who they are, what they want, what exactly they're on the way to. Is it a funeral or a christening? Is it both or neither? Though this might all seem hazy and conditional, it might all in fact be painstaking and absolute. This is life, for the Problematical Animal.

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Mary Swanson just moved to Middletown. About to have her first child, she is eager to enjoy the neighbourly bonds a small town promises. But life in Middletown is complicated: neighbours are near strangers and moments of connection are fleeting. Middletown is a playful, poignant portrait of a town with two lives, one ordinary and visible, the other epic and mysterious. Middletown was awarded the prestigious Horton Foote Prize for Promising New American Play in 2010.‘The strange beauty of life and its sometimes unbearable weight are both considered with a screwball lyricism… pitch-perfect… delicate, moving and wry’ – New York Times

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Behold the newest nobody of the funniest century yet. He’s almost Christ-like, from a distance, in terms of height and weight. Listen closely or drift off uncontrollably, as he speaks to you directly about the notion of home, about the notion of the world. All of it delivered with the authority that is the special province of the unsure and the un-homed, which is a word he made up accidentally. The running time, if he doesn’t die or think of anything else, is roughly one hour. Title and Deed is a provocative new work by Pulitzer Prize finalist and Horton Foote Prize winner Will Eno, whom The New York Times called ‘a Samuel Beckett for the Jon Stewart generation.’‘A haunting and often fiercely funny meditation on life as a state of permanent exile… The marvel of Mr. Eno’s voice is how naturally it combines a carefully sculptured lyricism with sly, poker-faced humor. Everyday phrases and familiar platitudes -“Don’t ever change,” “Who knows” – are turned inside out or twisted into blunt, unexpected punch lines punctuating long rhapsodic passages that leave you happily word-drunk.’ – New York Times ‘The piece proves to be an always fascinating and surprisingly moving 70 minutes of theater…What emerges from his humorous, sometimes stream-of-conscious patter is a heartfelt exploration of the transience of everything in this life, from words themselves to relationships to our very existence.’ – Theatermania

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