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Classical in its breadth and scope, Horton Foote's nine-play Orphans' Home Cycle begins with a father's death in a small Texas town at the turn of the century, a loss that sends his son, twelve-year-old Horace Robedaux, on an odyssey through the darkest corners of the heart. Caught in the rift between his father's and his mother's families, Horace is separated from what family he has left to spend a horrifying year on a decaying plantation worked by black convicts from a nearby prison. Even more devastating is the reunion with his mother, his sister Lily Dale, and his new stepfather--a reunion that will leave him an orphan in spirit, if not in name.
“A family is a remarkable thing, isn’t it? You belong. And then you don’t. It passes you by. Unless you start a family of your own.”The last two plays of Horton Foote’s Orphans’ Home Cycle both expand and contract the circle of a family that unifies all nine of the plays. In Cousins, an operation on Horace Robedaux’s mother reunites, in person and in memory, the many Robedaux relatives (one of whom speaks the lines quoted above), and in the almost comic proliferation of cousins that results, the orphaned Horace is joined across time and space to a family that seems never to end.The Death of Papa returns the cycle to its origins, with the death of Horace’s father-in-law. Far from ending the story, however, Papa’s death regenerates the complexity of families and their survival, as his son bravely but foolishly tries to assume control of the land that supports his family’s life.
Dramatizes a rape trial in a small Southern town, a washed-up country singer's recovery, and an old woman's return to her home.
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