In THE HEADLANDS, Henry (Aaron Yoo) is an amateur sleuth and true crime aficionado who sets out to solve the ultimate case: the unsolved murder of his father. Using his memories and the family stories he was told as a child growing up in San Francisco, Henry begins an investigation through a labyrinth of secrets and deceptions that leads him to question those closest to him. THE HEADLANDS is a contemporary noir that explores the stories we tell ourselves and the fallibility of the mind.

Reviews

“The design elements all work in satisfying unity, and a standout is Ruey Horng Sun’s unusually excellent projections, which take their cue from Henry’s love of film noir and generate a gorgeously gloomy mood from the story he uncovers.”

Rollo Romig, The New Yorker

“Those projections, by Ruey Horng Sun, support not only the play’s noir sensibilities with lots of lamplit San Francisco streets but also its view of the fragmentary nature of consciousness. Images flicker, regroup, disappear, return. What seems like documentary evidence may be merely a trick of light in air.”

Jesse Green, The New York Times

In addition to Chen’s tight, thoughtful plot-weaving, Sun’s projections provide a necessary conduit that fills out the world of the play and opens a window into the characters’ psyches. Having been soured on film looping after the currently running production of Medea at BAM and its ubiquity in Ivo van Hove productions of the last decade, I didn’t expect to find it used so inventively here.

Cameron Kelsall, Exeunt NYC