Productions
How I Learned to Drive was first produced by Vineyard Theatre (Douglas Aibel, Artistic Director; Jon Nakagawa, Managing Director) in New York City in February 1997. It was directed by Mark Brokaw, the set design was by Narelle Sissons, the costume design was by Jess Goldstein, the lighting design was by Mark McCullough, the original sound design was by David van Tieghem, and the production stage manager was Thea Bradshaw Gillies. The cast was as follows:
- Li'l Bit - Mary-Louise Parker
- Uncle Peck - David Morse
- Male Greek Chorus - Michael Showalter
- Female Greek Chorus - Johanna Day
- Teenage Greek Chorus - Kerry O'Malley
- Greek chorus leader- Ethan Atkins
The Vineyard Theatre production, in association with Daryl Roth and Roy Gabay, moved to the Century Theatre in April, 1997. Bruce Davison and Jayne Atkinson took over the lead roles. Molly Ringwald stepped into the role in October of 1997. The Male Greek Chorus was played by Christopher Duva.
A 1997/98 season production at CENTERSTAGE in Baltimore (Center Stage) was directed by Barry Edelstein.
A 1998/99 season production at the Arena Stage in Washington, D.C. was directed by Molly Smith.
A 1999 production at the Mark Taper Forum in Los Angeles featured Molly Ringwald and Brian Kerwin.
In 2006 the play was produced by the T. Schreiber Studio and Theater in New York City. This critically acclaimed production was directed by Terry Schreiber and received 10 New York Innovative Theatre (NYIT) Award nominations. Trey Gibbons won the NYIT Award for Outstanding Actor in a Featured Role for his performance in this production.
L.A. Theatre Works has produced an audio performance of the play, starring Glenne Headly, Randall Arney, Joy Gregory, Paul Mercier, and Rondi Reed. Published on CD, ISBN 1-58081-188-4.
In 2012 Second Stage Theatre produced the first professional production of the play in New York City since its premiere in 1997. The work is directed by Kate Whoriskey and stars Norbert Leo Butz as Uncle Peck and Elizabeth Reaser as Li'l Bit. The production opened February 13, 2012 and was favorably reviewed by the New York Times, saying "It is a performance that captures Ms. Vogel's remarkable, clear-eyed empathy in portraying the incalculable damage done by damaged people".
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