“In the middle of the land is the town of Good…”
Welcome to the little Southern town of Good, Alabama. It’s wild, woodsy, down-home…and very, very haunted. One hundred years ago, a love triangle ended in an act of racist violence that seems to repeat in every generation—until, perhaps, now. Told in three interlocking storylines from three different generations in Good, this “sophisticated, satisfying, and fresh musical” (NAMT 2019) pits good old-fashioned American denial against the redemptive power of facing your truth.
Creative Team
REBECCA HART (words) is a writer & performer based in NYC. Born into a theatre family, she made her stage debut at the age of nine months and has been making music and writing for only a slightly shorter time. She holds a BA in Theatre from Brown University, trained as an actor at the Maggie Flanigan Studio, and recently received her MFA from NYU’s The Graduate Musical Theatre Writing Program (book & lyrics). As lyricist/librettist, recent work includes IRON JOHN: an american ghost story; the barren(s) (Kennedy Center American Opera Initiative Commission 2020/21), Microcosmos (The Civilians R&D Group 2019). As songwriter: How To Break (2014 NAMT Festival, Sprkbox Festival Oslo 2015, Village Theatre 2023), The Civilians’ Rimbaud in NY (BAM) and Let Me Ascertain You (Joe’s Pub), Target Margin Theatre’s Uriel Acosta (Chocolate Factory LIC), Woolly Mammoth’s GLORIA (Best Sound Helen Hayes Co-Nom), and Hard Sparks’ The Cabaret at the End of the World (Best Original Music, NY Innovative Theatre Awards 2017). Her five-piece alt-folk project Rebecca Hart & the Wrong Band performs frequently; recent concerts include the Rockwood Music Hall, the Cutting Room, and the Brooklyn Americana Music Festival. Her 2018 album The Magician’s Daughter was produced in part by renowned Kentucky songwriter/cellist Ben Sollee. Recent acting credits include the 2019 Public Theater tour of SWEAT by Lynn Nottage (dir. Kate Whoriskey), a CT Critics Circle Best Actress Nomination for Midsummer: a play with songs (Hartford Theatreworks), and her long-awaited, first-ever (!) Law & Order audition this month. Upcoming projects include her new solo show How To Read Tarot Cards, (residency, The Cell Theatre), both with director Chloe Treat. Associate Artist, The Civilians. www.rebeccahart.net
Jacinth Greywoode (music) is a New York-based composer and music director. Recent credits include orchestrations and music direction for the off-Broadway revival of I CAN GET IT FOR YOU WHOLESALE (CSC) and arrangements and music direction for Leslye Headland’s CULT OF LOVE at Berkeley Rep. Jacinth also served as Music Consultant and Arranger for Charles Fuller’s Pulitzer Prize-winning drama A SOLDIER'S PLAY, which was nominated for the 2020 Best Revival of a Play Tony Award. Other recent roles include Associate Music Director for the Woolly Mammoth production of A STRANGE LOOP and of Tennessee William’s THE ROSE TATTOO at American Airlines Theater (2020 Tony Nomination for Best Original Score) and Music Director for Kirsten Child’s AUNT LILLIAN at the Vineyard Theatre. Upcoming: Associate Music Director for the New York City Center Encores! revival of JELLY’S LAST JAM.
Current works include BLENDED HARMONY: The Kim Loo Sisters, a commission from the History Theatre with playwright Jessica Huang, HOW TO BREAK (Village Theatre), and WHITE RAVEN/BLACK DOVE, an opera commission from Cerise Jacobs/White Snake Projects premiering in Boston in November 2025. BLACK GIRL IN PARIS, a new musical written with AriDy Nox about the life of young Sally Hemings, was a 2023 O’Neill NMTC Finalist, was featured in the 2020 Civilians R&D group and was performed in concert at Joe’s Pub in July 2022 after a residency at LAMDA in England in June 2022. Jacinth and AriDy also received the Batten Fellowship from the Jefferson Foundation for a month long research residency at Monticello along with a Public Humanities NY grant to fund research in Paris in November of 2021.
A resident of Greenpoint, Brooklyn, Jacinth received a Bachelor of Arts in music with a Certificate in collaborative piano performance from Princeton University, a Master of Fine Arts from the Graduate Musical Theatre Writing Program at NYU's Tisch School of the Arts, and a PhD in Composition from Stony Brook University.
Chloe Treat (director) is a New York-based director and choreographer. Born and raised in the great, if not wildly problematic state of Texas, she directs and choreographs big-ass-musicals. Chloe began her life in the arts as a dancer and has since worked as a director and choreographer of musicals, operas, and highly theatrical plays. Her training and work in various mediums influenced her direction in theater to rely heavily on movement, music, and design as storytelling tools. Chloe is the director and choreographer of a number of new musicals and operas, most recently: Taking up Serpents and Holy Ground (The Glimmerglass Festival), Dave Malloy’s Don’t Stop Me (Manhattan School of Music and The Polyphone Festival), and Iron John (Irish Arts Center (upcoming)). Chloe is an associate artist for Heartbeat Opera where she choreographed Carmen, Lucia di Lammermoor, Daphnis and Chloe and Don Giovanni as well as co-directed a New York Times Critics’ Pick production of Der Freischütz. Chloe choreographed (R)evolution of Steve Jobs at Santa Fe Opera, The Good Swimmer, Thomas Paine in Violence, and Words on the Street at HERE arts as well as the American premiere of the Philip Glass opera, The Perfect American. Chloe has worked as an associate on a number of large commercial productions including Natasha Pierre and the Great Comet of 1812 (Broadway and the American Repertory Theater), Amelie (Berkeley Rep), and Heisenberg (Broadway). She has also directed and choreographed large musical productions at many educational institutions including Pace (Amelie), Manhattan School of Music (Spring Awakening, Iron John, Wild Party), The New School (Street Scene) and Wagner (Evita). Chloe has her BFA in Drama from Tisch School Of The Arts. She’s an SDC Member and a Drama League Directing Fellow. Chloe was listed as one of the Broadway Women’s Fund “Women to Watch” in 2020 and received a grant from Opera America for Women Stage Directors and Conductors in 2022. Chloe is the mother of two-year-old, Cora, and has presented her writing about the intersection of motherhood and directing in industry publications like the SDC journal. Her ultimate goal as a director is to create spaces that value equally both artistic excellence and treating people well.
Iron John was staged in workshop with New Studio on Broadway (NYU Tisch School of the Arts, 2019). 2019 National Alliance for Musical Theatre Festival (NAMT); 2019 Theatreworks Silicon Valley New Works Festival; 2019 O'Neill Incubator Residency and Semifinalist, O'Neill National Musical Theatre Conference; Finalist, Richard Rodgers Award 2020. In 2020, IRON JOHN was produced at Temple University and the Manhattan School of Music, and was featured in an episode of the MUSE Podcast (NAMT & One Foot Productions). The Relentless Award 2022 Honorable Mention. Upcoming: Irish Arts Center NY residency/reading in early 2023.
Developmental History
A Southern Gothic riff on the folktale “Iron Hans”, best known in the U.S. for inspiring Robert Bly’s 1990 bestselling book Iron John: a Book About Men and the subsequent “mythopoetic men’s movement” of the late 80s/early 90s.
“a sophisticated, satisfying, and fresh musical”
Music from the show.
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IRON JOHN is a sponsored project of Fractured Atlas, a non-profit arts service organization. Contributions for the charitable purposes of IRON JOHN must be made payable to “Fractured Atlas” only and are tax-deductible to the extent permitted by law.
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