Overview
Synopsis
The Destiny of Me is Larry Kramer’s Pulitzer Prize-nominated sequel to The Normal Heart. It continues to follow Ned Weeks after he loses his lover to AIDS. Now, Weeks is also HIV positive. Despite having spent years of life campaigning and protesting against the lack of medical research and progress being made in clinical trials, he has now voluntarily checked in to take part in the trial of a new treatment to fight the virus. As he battles with his complex and conflicting feelings over the medical establishment, he finds himself drifting back to his childhood. Moving from past to present, and often combining the two, Ned reflects on the challenges he faced growing up as young Alexander. While navigating a depressed and abusve father, an emotionally withdrawn older brother who can’t stand coming home, and an unhappy mother caught in the middle, Alexander must come to terms with his own sexuality and future.
Show Information
- Book
- Larry Kramer
- Category
- Play
- Age Guidance
- Mature Audiences (M)
- Number of Acts
- 3
- First Produced
- 1992
- Genres
- Drama
- Settings
- Unit/Single Set
- Time & Place
- National Institutes of Health, just outside Washington D.C., Autumn 1992
- Cast Size
- small
- Licensor
- Concord Theatricals
- Ideal For
- College/University, Mature Audiences, Mostly Male Cast, Regional Theatre, Star Vehicle Male, Includes Adult, Young Adult, Mature Adult Characters, Small Cast
Context
The Destiny of Me is the follow up to Larry Kramer’s groundbreaking 1985 play The Normal Heart. It first premiered Off-Broadway at the Lucille Lortel Theatre in 1992, where it ran for 198 performances. The production won the Obie and Lucille Lortel Awards for Outstanding Play, as well being nominated for the 1993 Pulitzer Prize for Drama.
Following the success of the film adaptation of The Normal Heart, it was reported that Kramer had agreed to write the screenplay for _The Destiny of
to read the context for The Destiny of Me and to unlock other amazing theatre resources!Plot
Act One
Ned Week, a middle-aged, gay man arrives at a hospital to begin experimental treatment in the fight against AIDS. He has HIV, but has never become terminally ill, unlike the majority of his friends and acquaintances with the disease. However, the people he comes to for help are the very same people he has loudly criticized in the press for their lack of progress. Nurse Hanniman finds it hard to believe that Ned does not have a devious scheme up his sleeve, but Dr. Anthony Della
to read the plot for The Destiny of Me and to unlock other amazing theatre resources!Characters
| Name | Part Size | Gender | Vocal Part |
|---|---|---|---|
|
Lead |
Male |
Non-singer |
|
|
Supporting |
Female |
Non-singer |
|
|
Supporting |
Male |
Non-singer |
|
|
Supporting |
Male |
Non-singer |
|
|
Supporting |
Male |
Non-singer |
|
|
Supporting |
Female |
Non-singer |
|
|
Supporting |
Male |
Non-singer |
Songs
A song with an asterisk (*) before the title indicates a dance number; a character listed in a song with an asterisk (*) by the character's name indicates that the character exclusively serves as a dancer in this song, which is sung by other characters.
Monologues
Scenes
Key Terms
The name used to describe a number of potentially life-threatening infections and illnesses that happen when the body's immune system has been severely damaged by the HIV virus.
Dislike of or prejudice against gay people.
A play in which a lead character narrates the events of the play, which are drawn from the character's memory.
The Obie Awards or Off-Broadway Theater Awards are annual awards originally given by The Village Voice newspaper to theatre artists and groups in New York City.
An award for an achievement in American journalism, literature, or music
The accepted generic term for the LGBTQ+ theatre movement.
Videos
Sorry! We do not currently have videos for this guide.
Quizzes
Themes, Symbols & Motifs
Sorry! We do not currently have learning modules for this guide.
Quote Analysis
Sorry! We do not currently have learning modules for this guide.
Guide Written By:
Alexandra Appleton
Writer, editor and theatre researcher