'night, Mother

• The play 'Night, Mother' was written by Marsha Norman and earned the prestigious 1983 Pulitzer Prize for Drama.
• The original Broadway production opened on March 31, 1983, at the John Golden Theatre after its 1982 premiere in Cambridge.
• The initial cast featured Anne Pitoniak as Thelma Cates and Kathy Bates in the role of Jessie Cates.
• The text details strict copyright protections and specific mandates regarding how the author must be credited in program materials.
• The character Jessie Cates is introduced as a woman in her late thirties or early forties who appears pale and physically unsteady.

JESSIE CATES — Jessie is in her late thirties or early forties, pale and vaguely unsteady, physically.

• Jessie Cates is introduced as a woman in her late thirties who has recently achieved a newfound control over her life and body.
• Thelma Cates is a chatty, sturdy-minded mother who lives with her daughter in a routine of familiar comforts and aggravations.
• The play's action happens in real-time, with onstage clocks emphasizing the literal passage of moments for the characters.
• A specific bedroom door is designated as the symbolic focal point of the set, representing both threat and promise.
• The author's note demands a realistic environment that reflects the characters' specific identities without resorting to stereotypes.

It is an ordinary door that opens onto absolute nothingness.

• Mama is preoccupied with mundane domestic tasks like eating cupcakes and checking the TV Guide for her Saturday night routine.
• Jessie begins a methodical search for absorbent materials and protective coverings, claiming she is preparing for an upcoming mess.
• The atmosphere shifts from domestic comfort to unease when Jessie reveals she is looking for her deceased father's pistol.
• Mama remains largely oblivious to the potential danger, assuming Jessie's preparations are for something as trivial as dyeing her hair.

I found the bullets. They were in an old milkcan.

• Jessie retrieves a gun from a precarious attic while her mother, Mama, expresses concern about the safety of the house and the necessity of the weapon.
• Mama attempts to dismiss the need for a gun by claiming their rural home is safe from criminals, though Jessie reminds her of her son Ricky's criminal behavior.
• A sharp divide exists between the two women regarding Ricky; Mama remains hopeful for his redemption while Jessie expresses cold detachment and a desire to see him imprisoned.
• Jessie explicitly states that the gun is not for protection against others but is intended for her own use.
• The scene juxtaposes the mundane preparation for a manicure with the chillingly methodical act of Jessie cleaning the loaded firearm.

Don’t worry. It’s not for him, it’s for me.

• Jessie calmly informs her mother of her explicit intention to commit suicide later that evening.
• Mama initially reacts with dismissal and irritation, suggesting Jessie is either joking or suffering from a lack of medicine.
• Jessie reveals she has methodically prepared for the act, including testing her father's old pistol and manipulating her brother into buying her fresh ammunition.
• To maintain control over the evening, Jessie threatens to kill herself immediately if Mama attempts to call her brother for help.

You're lying there in your bed or maybe you're just brushing your teeth and you hear this . . . noise down the hall?

• Jessie forcefully prevents Mama from calling her brother or emergency services, insisting that their final conversation remain private and uninterrupted.
• Mama attempts to dissuade Jessie using a series of escalating tactics, ranging from the practical fear of a botched suicide to the religious threat of eternal damnation.
• Jessie characterizes her impending death as a state of 'dead quiet' and a necessary relief from a life where she feels 'cold all the time.'
• Mama’s desperation manifests in increasingly irrational protests, such as claiming ownership over the gun and the towels Jessie intends to use.
• The interaction maintains an eerie domesticity, with Jessie calmly offering to make coffee immediately after discussing the logistics of her own death.

You can’t use my towels! They're my towels. I've had them for a long time. I like my towels.

• Jessie methodically prepares Mama for life alone by explaining household maintenance and the specifics of the washer and dryer.
• Mama experiences a moment of indecision, picking up the phone to call for help but ultimately choosing to face Jessie alone.
• The dialogue reveals Jessie's deep frustration with her brother Dawson and his perceived ownership over her personal life and time.
• Jessie explains her resentment toward her family, viewing them as people who possess intimate knowledge of her without her consent.

They know things about you, and they learned it before you had a chance to say whether you wanted them to know it or not.

• Jessie expresses a deep-seated discomfort with the way family members possess intimate knowledge of one another without permission.
• Mama desperately attempts to identify a specific catalyst for Jessie's decision, blaming family members like Ricky or Jessie's epilepsy.
• Jessie maintains a chillingly calm focus on household logistics, explaining how to manage grocery deliveries and pharmacy orders after she is gone.
• Jessie rejects the idea that her suicide is a result of being 'sick,' instead viewing the act as a final exercise of personal autonomy.
• The conversation reveals a profound disconnect between Mama’s hope for future improvements and Jessie’s total lack of interest in continuing her life.
• Mama expresses regret that Jessie ever moved back home, suggesting that physical independence might have prevented this crisis.

I want to hang a big sign around my neck, like Daddy’s on the barn. Gone Fishing.

• Mama and Jessie discuss the regrets of Jessie moving back home following her divorce and the isolation it caused.
• Jessie articulates a deep-seated despair, admitting she has been seriously contemplating her exit for ten years.
• Despite Mama’s attempts to blame the news or television, Jessie maintains that her sadness stems from the general state of her life and the world.
• Jessie begins a methodical walkthrough of the house, showing Mama where supplies are kept and how to manage the household after she is gone.
• Mama offers increasingly desperate and frantic suggestions, such as getting a new dog or singing, to convince Jessie to stay alive.

I'll sing til morning to keep you alive, Jessie, please!

• Mama attempts to dissuade Jessie by suggesting life changes such as getting a new dog or learning to crochet.
• Jessie reveals she has meticulously prepared for her death by organizing Mama's pills and stocking up on household supplies.
• Jessie uses a stark metaphor of a miserable bus ride to explain why she no longer wishes to continue her life.
• Mama responds with desperation and frustration, blaming Jessie's unhappiness on her own choices and attitude.
• The dialogue highlights Jessie's feeling of total disconnection from the world and her inability to fit into society or the workforce.

Whenever I feel like it, I can get-off. As soon as I've had enough, it’s my stop. I've had enough.

• Jessie reflects on her failed attempts at employment, citing her social awkwardness and the persistent threat of seizures as insurmountable barriers.
• In a moment of stark clarity, Jessie asserts that ending her life is the only choice she truly owns and can control.
• Mama attempts to stall the inevitable by preparing ritualistic snacks like hot chocolate and caramel apples to create a sense of normalcy.
• The two women enter a brief period of levity as Mama shares eccentric gossip about a neighbor who repeatedly burns down her own houses.

But I can stop it. Shut it down, turn it off like the radio when there’s nothing on I want to listen to.

• Mama shares eccentric stories about Agnes, a woman who allegedly set fires and keeps a house full of birds.
• Jessie questions the validity of these stories, prompting Mama to admit she exaggerated to make Jessie laugh.
• The conversation turns serious as Jessie demands to know why Agnes refuses to visit their home.
• Mama reveals that Agnes is terrified of Jessie’s seizures, viewing them as a bad omen or something contagious.
• The dialogue underscores the social isolation and stigma Jessie endures because of her chronic illness.

Jessie’s shook the hand of death and I can’t take the chance it’s catching, Thelma, so I ain’t comin’ over and you can understand or not, but I ain’t comin.

• Mama reveals that Agnes avoids visiting because she is irrationally afraid that Jessie's condition—likened to the 'hand of death'—is contagious.
• Jessie confronts Mama about her history of lying, forcing a shift toward blunt honesty regarding their family's past.
• Mama admits she never loved Jessie's father, explaining that their marriage was built on a foundation of mutual disappointment and silence.
• The characters bond over the shared realization that even their attempts at comfort, like the poorly made cocoa, are tainted by the reality of their lives.

He wanted a plain country woman and that’s what he married and then he held it against me the rest of my life like I was supposed to change and surprise him somehow.

• Jessie and Mama clash over their conflicting perceptions of Jessie’s late father and the emotional distance he maintained.
• Mama confesses to a long-standing jealousy of the private, quiet bond Jessie shared with her father.
• Jessie finds comfort in memories of her father’s whimsical pipe-cleaner creations, which she saw as a form of communication.
• Mama reveals that the father’s frequent fishing trips were a lie, and that he actually spent the time sitting alone in his car.
• The exchange reveals the profound lack of intimacy in Mama’s marriage and the different ways both women interpreted the father's silence.

Big old faded blue man in the chair. Quiet.

• Mama admits that she never loved Jessie's father, claiming that mutual love was irrelevant to their shared life.
• In a frantic reaction to Jessie's plans, Mama attempts to throw away her cookware and declares she will survive on candy and tuna.
• Mama rejects Jessie's suggestion to live with her friend Agnes, realizing Jessie is trying to provide her with a babysitter before leaving.
• The dialogue reveals the profound emotional void left by Jessie's father, who chose silence even in his final moments.

I don’t like things to think about. I like things to go on!

• Jessie asks about her father's final moments, and Mama reveals that he chose to spend his last breaths in pointed silence rather than speaking to her.
• While cleaning the kitchen, Jessie attempts to set up a system of support for Mama, framing her planned departure as a holiday.
• Mama launches into a frantic series of personal questions, desperate to bridge the emotional distance between herself and her daughter.
• Jessie admits that her marriage ended because she refused to choose her husband, Cecil, over her smoking habit.
• The scene illustrates the deep-seated resentment and lack of understanding that permeate the domestic life of the two women.

It was his last chance not to talk to me and he took full advantage of it.

• Mama relentlessly questions Jessie about her epilepsy and the underlying reasons behind her divorce from Cecil.
• Jessie defends her smoking habit as a reliable source of consistency and describes the semantic conflict between 'seizures' and 'fits.'
• Mama confesses that she orchestrated Jessie's marriage to Cecil and eventually caught him in an affair with a local girl.
• Despite his abandonment, Jessie reflects fondly on Cecil’s craftsmanship and the exhausting effort she made to save their relationship.
• The conversation reveals deep-seated resentment regarding Mama's past interference in Jessie's independence and personal life.

Smoking is the only thing I know that’s always just what you think it’s going to be. Just like it was the last time and right there when you want it and real quiet.

• Jessie argues that her son Ricky is an inseparable blend of her and her ex-husband's worst qualities, doomed to repeat their failures.
• She admits she forged a sympathetic note from Cecil to herself, revealing her deep need to feel loved even if she has to fabricate it.
• Jessie describes her self-worth in stark terms, comparing herself to garbage that needed to be discarded for Cecil to find peace.
• Mama tries to convince Jessie to contact Cecil, but Jessie insists that his departure was a relief because she no longer had to feel watched.
• The dialogue shifts to meticulous instructions about garbage disposal, emphasizing Jessie's detachment and her preparation for Mama's life without her.

Mama, you don't pack your garbage when you move.

• Jessie provides Mama with specific instructions for household management, such as garbage schedules and the necessity of buying heavy-duty bags.
• Mama reveals her belief that Jessie's father also suffered from undiagnosed seizures, which the family previously dismissed as 'thinking spells.'
• The conversation shifts from mundane chores to a raw confrontation as Jessie demands a detailed description of her own epileptic fits.
• Mama reluctantly describes the visceral reality of Jessie's seizures, including the loss of muscle control, gagging sounds, and physical jerking.
• The physical struggle of the two women putting a slipcover on a sofa mirrors the emotional tension of discussing Jessie's traumatic medical history.

You just . . . crumple, in a heap, like a puppet and somebody cut the strings all at once, or like the firing squad in some Mexican movie, you just slide down the wall, you know.

• Mama describes the physical reality of Jessie's seizures and the efforts she made to protect Jessie's dignity during them.
• Jessie reveals that she has been seizure-free for a year and is finally experiencing a return of her cognitive functions and memory.
• The return of Jessie's clarity is bittersweet, as she uses her improved mental state to confirm her decision to end her life.
• Mama attempts to keep Jessie home by highlighting her health, eventually revealing that Jessie's condition is a hereditary trait from her father.
• The dialogue reveals a long-standing family secret regarding the onset of Jessie’s epilepsy, which occurred much earlier than Jessie believed.

Once I started remembering, I could see what it all added up to.

• Mama reveals that she hid Jessie's epilepsy for most of her life, keeping the seizures a secret even from Jessie's own father.
• Jessie expresses deep resentment over the deception, noting that the lack of information prevented her from understanding her own life and safety.
• Mama suffers a breakdown, viewing Jessie's illness and planned suicide as a divine punishment for her own failings as a mother and wife.
• The conversation exposes a suffocating codependency, with Mama claiming that Jessie's death is equivalent to her own.
• Jessie confronts Mama with the possibility that their relationship is not enough to sustain her, and may even be the reason she wants to die.

What if you are all I have and you're not enough? What if the only way I can get away from you for good is to kill myself?

• Mama expresses her deep dependency on Jessie, listing the domestic tasks and emotional support she fears losing.
• Jessie clarifies that she shared her plan not to be saved, but to provide closure and prevent Mama from blaming herself.
• Mama experiences intense guilt for failing to notice Jessie's long-standing pain and for her current inability to persuade Jessie to stay.
• Jessie rejects Mama's attempts to offer hope for the future, stating she needs a definitive solution that 'will work' rather than temporary fixes.
• The dialogue reveals that their current level of honesty is only possible because Jessie's decision is already final.

I hate the quiet and I don’t want to die and I don’t want you to go, Jessie.

• Mama pleads with Jessie to postpone her decision for two weeks, promising a more honest and attentive relationship if she stays.
• Jessie rejects the offer of hope, asserting that her choice to end her life is the ultimate way to have her 'say' and reject a lifetime of disappointments.
• Jessie describes a profound sense of self-loss, explaining that she views her childhood self as a different person who never grew into the adult she was supposed to be.
• The dialogue reveals a stark contrast between Mama’s primal fear of death as a lurking predator and Jessie’s calm indifference toward it.
• Mama's desperation turns to fury as she accuses Jessie of making her feel like a fool for wanting to live while Jessie treats her own life as something she can simply switch off.

I found an old baby picture of me. And it was somebody else, not me.

• Mama initially reacts with visceral fury and horror, accusing Jessie of being selfish for treating her life like a television program she can simply turn off.
• The emotional confrontation shifts into a state of numb resignation as Mama begins to accept the inevitability of Jessie's impending suicide.
• Jessie meticulously coaches her mother through the social etiquette of the funeral, providing specific scripts for how to respond to neighbors' condolences.
• The dialogue reveals a jarring contrast between the tragic reality of death and mundane domestic fixations, such as crochet work and funeral food leftovers.
• In her final moments, Jessie attempts to secure her mother's future comfort by instructing her to be more selfish and prioritize her own well-being.

I will stay here until they make me-go, until they drag me screaming and I mean screeching into my grave and you're real smart to get away before then because, I mean, honey, you’ve never heard noise like that in your life.

• Jessie instructs her mother to lie to the authorities and family by framing the suicide as a sudden, inexplicable act rather than a planned conversation.
• To preserve the sanctity of their final night together, Jessie insists that the details of their talk remain private and hidden from her brother and sister-in-law.
• Jessie provides her mother with mundane, repetitive tasks to perform immediately following the gunshot, such as washing a hot chocolate pan, to keep her occupied until help arrives.
• A distribution of personal belongings is arranged, including a calculator for Loretta and a list of future holiday gifts for Mama spanning the next twenty years.
• Jessie requests that the police be the first to enter her bedroom after the event, specifically wanting to spare her brother Dawson from being the one to find her.

You wash that pan til you hear the doorbell ring and I don’t care if it’s an hour, you keep washing that pan.

• Jessie provides a comprehensive list of future gifts and a letter for Dawson to ensure Mama is cared for over the next twenty years.
• Jessie leaves her watch for her son Ricky, calmly accepting that he may sell it for drugs rather than keeping it.
• A box of sentimental items is given to Mama, designed by Jessie to provide comfort and memories of things once lost.
• Mama attempts to physically block Jessie's path, desperately listing household chores and practicalities to delay the inevitable.

I'll stand in front of this hall and you can't get past me.

• Mama attempts to physically and verbally prevent Jessie from carrying out her suicide.
• Jessie locks herself in her bedroom after a final, whispered farewell, ignoring her mother's frantic pleas.
• The tension breaks with the sound of a gunshot, which serves as a definitive and tragic response to Mama's demands.
• Following the shot, Mama experiences a moment of profound realization regarding Jessie's isolation and her own failed assumption of ownership.
• The text concludes with an extensive property plot detailing the mundane and often spoiled items that define the household setting.

And we hear the shot, and it sounds like an answer, it sounds like No.

• The kitchen inventory reveals a domestic environment filled with spoiled produce and an excessive variety of candies and cocoa.
• A significant medical presence is established through numerous prescription bottles for Thelma Cates and a specific towel for catching spilled pills.
• The prop list for the attic and bedroom introduces a dark narrative element with a concealed gun, gun oil, and both old and new ammunition.
• Living room details portray a lived-in space cluttered with domestic hobbies like sewing, needlework, and newspaper crossword puzzles.
• The author includes a note regarding the 2004 Broadway production, allowing for dialogue updates to keep the play feeling contemporary.

1 hand towel to catch spilled pills

• The text outlines specific costume requirements for the character Jessie, including glitzy house slippers and a grey floral blouse.
• Author Marsha Norman provides updated dialogue for her play to ensure it feels contemporary rather than like a historical piece.
• Directors are explicitly instructed to choose either the original or revised text in its entirety to avoid a 'mix and match' script.
• The revisions update cultural and economic references, such as mentions of North Korea and increased minimum delivery costs.
• A supplementary list describes contemporary plays that tackle diverse themes from media tragedies to the invention of television.

The only thing I ask is that you not mix and match, ie., use either the old text or the new text below, not both.

• Dramatists Play Service showcases several prestigious plays including Pulitzer Prize winners Rabbit Hole and Doubt.
• The collection spans diverse genres such as black comedy, emotional drama, and satirical musical theater.
• Several works explore dark or experimental themes, like The Pillowman's depiction of horror stories coming to life in a totalitarian state.
• Contemporary social issues are addressed through plays like The Little Dog Laughed, which satirizes Hollywood's closeted culture.
• The service provides digital resources for theater practitioners, including cast size searches and instant performance licensing via email.

In an unnamed totalitarian state, an author of horrific children’s stories discovers that someone has been making his stories come true.