The Headlands

Lincoln Center Theater

Claire Tow Theater

Picture of work

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.


By Christopher Chen
Lincoln Center Theater
Claire Tow Theater
Directed by Knud Adams
Scenic Designer - Kimie Nishikawa
Costume Designer - Tilly Grimes
Lighting Designer - Mark Barton
Sound Designer - Peter Mills Weiss
Projection Designer - Ruey Horng Sun
Assistant Set Designer - Zoë Hurwitz
Props Master - Addison Heeren
Scene Shop - Sightline Fabrication
Production Stage Manager - Joshua Mark Gustafson
Assistant Stage Manager - Leah Pye
Cast:Laura Kai Chen / Edward Chin-Lyn / Mahira Kakkar / Mia Katigbak / Henry Stram / Johnny Wu / Aaron Yoo Photography - Knud Adams



“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