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Rod thinks the game is fixed. Momo’s still learning the rules. Twee doesn’t think winning is enough. JJ hates his hand. And why the hell is Henry still playing? Two families (and some guy named Henry) panic with hilarious and heartbreaking results when they realize their parents won’t be around forever. Can anybody prepare for the inevitable moment when they’re the ones left holding all the cards?
House Rules premiered in a production by Ma-Yi Theatre Company in New York City in March 2016 under the direction of Ralph B. Peña.
ERNIE - late 60's, Filipino, ROD's and JJ's father
ROD - early 30's, Filipino-American, ERNIE's oldest son
HENRY - early 30's, not Filipino, ROD's (recently ex-)boyfriend
JJ - late 20's, Filipino-American, ERNIE's youngest son
MOMO - early 30's, Filipino-American, VERA's youngest daughter
TWEE - mid-30's, Filipino-American, VERA's oldest daughter
VERA - 60's, Filipina, TWEE's and MOMO's mother
About the Author
A. Rey Pamatmat’s play after all the terrible things I do premiered at the Milwaukee Repertory Theatre and runs at next at The Huntington Theatre in 2014 – ’15. His play A Power Play; Or, What’s-its-name was presented at the 2014 O’Neill Playwrights Conference, his second residency there after Thunder Above, Deeps Below in 2008. Rey’s play Edith Can Shoot Things and Hit Them premiered at the Humana Festival, received the Steinberg/ATCA New Play Citation and nominations for 2013 GLAAD Media and Lambda Literary Awards, and was featured at Guadalajara’s 2014 Semana Internacional de la Dramaturgia. Productions: Thunder Above, Deeps Below (Second Generation), A Spare Me (Waterwell), DEVIANT (the Vortex), High/Limbo/High (HERE); awards: ’12/’13 Hodder Fellowship, ’11/’12 PoNY Fellowship, Princess Grace Award, Princess Grace Special Projects Grant, NYFA Playwriting Fellowship, E.S.T./Sloan Grant. Rey is Co-Director of the Ma-Yi Writer’s Lab. BFA: NYU, MFA: Yale School of Drama.
"The playwright presents the characters in crisp three dimensions [...] well done." - Huffington Post, Read
"A. Rey Pamatmat’s play is a web of love and conflict between cultures, and parents and children, that is never sentimental or schmaltzy, but funny and unapologetic.” - Front Row Center
"Mr. Pamatmat has compelling ideas about human psychology and dramatic structure [...] flashes of surprising truth, particularly in the sibling interactions.” - The New York Times