Amy Herzog’s plays include After the Revolution (2010) (Williamstown Theater Festival; Playwrights Horizons; Lilly Award), 4000 Miles (2011) (Lincoln Center; Obie Award for the Best New American Play; Pulitzer Prize Finalist), The Great God Pan (2012) (Playwrights Horizons), and Belleville (2013) (Yale Rep; New York Theatre Workshop; Susan Smith Blackburn Prize Finalist; Drama Desk Nomination). Amy is a recipient of the Benjamin H. Danks Award from the American Academy of Arts and Letters, the Helen Merrill, the Joan and Joseph Cullman Award for Extraordinary Creativity, and the New York Times Outstanding Playwright Award. She is a Usual Suspect at NYTW and an alumna of Youngblood, Play Group at Ars Nova, and the SoHo Rep Writer/Director Lab. She has taught playwriting at Bryn Mawr and Yale. MFA, Yale School of Drama.

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4000 Miles / After the RevolutionTwo PlaysFrom"After the Revolution"
VERA: Have I told you about the lesbian who tried to seduce / me?
EMMA: Yes.
VERA: She showed up at the house, saying she has suck a big, whaddayacallit.
EMMA: Clitoris.
VERA: Clitoris, right, and she said it would be terrific, and all that. And I said no thank you, and she went away. Nice woman. Very pretty, actually.
After the Revolution (herafter)Premiered in2010- Print Books
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4000 Miles / After the RevolutionTwo PlaysFrom"After the Revolution"
BEN: Now who are the people speaking up on behalf of the destitute? The American Communist Party. Who is talking about racial equality, twenty-five years before the Civil Rights movement? Same answer. Who is calling attention to the fact that Russians are dying by the millions fighting fascism so that American hands can stay clean? Same answer, Emma. So who is my dad’s allegiance to? Is it to J. Edgar Fucking Hoover? Is it to a president who fully intends to sell out the Soviets once Hitler is out of the way? No, it’s to his party, it’s to the honest working-class Russians who are dying so that he can be free. So that his kids, and their kids, that’s you, could be free.
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4000 Miles / After the RevolutionTwo PlaysFrom"After the Revolution"
MORTY: Mostly we’re talking about nothing, we’re talking about, I don’t know, a good recipe for soap. You have a good recipe for soap, you mention it to somebody else in the Party, next thing you know you’re meeting a guy named Nikolai on a bench, handing over your soap recipe so some Russian kids can have a nice bath. This is the kind of thing that would later be called “spying,” and for these people life would become hell.
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“Whatever the ideal contemporary American drama is, it has to look a lot like The Great God Pan. It is provocative and subtle, slowly, carefully revelatory, sweetly moving, thought-provoking, funny and insightful.” —The New York Observer
“A quietly devastating play . . . Both a perceptive drama depicting the sudden fraying of a young marriage and a nail-biting psychological thriller . . . Belleville is among the most suspenseful plays I've seen in years.” —Charles Isherwood, The New York Times
“A funny, moving new play . . . 4000 Miles is a quiet meditation on mortality. But it's hardly a downer: Ms. Herzog's altogether wonderful drama also illuminates how companionship can make life meaningful, moment by moment, in death's discomforting shadow.” —The New York Times
“After the Revolution is a smart, funny and provocative play . . . Herzog deftly avoids simple-minded polemics in favor of richly detailed people who are as ready to examine their relationships as they are their consciences.” —Variety
Selected Works

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- Dramatists Play Service (Acting Edition)
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- Print Books
- Powell's
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- Print Books
- Powell's
- Barnes & Noble
- Alibris
- Abe Books
- Dramatists Play Service (Acting Edition)
- E-Books
- Kobo
- Barnes & Noble

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- Samuel French
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Of Herzog's first two plays, the Whiting selectors said, “The relationships are authentic, difficult, complex, funny, frustrating, real. Here is a voice of her generation, generous about, if somewhat skeptical of, the passionate political debate that fueled meaning in her grandparents’ lives.”