Skeleton Crew

By Dominique Morisseau Directed by Valerie Curtis-Newton

Where do you go when the line stops moving?

At the start of the Great Recession, one of the last auto stamping plants in Detroit is on shaky ground. The long hours and demanding shifts have turned the line workers into a family, but the stress and strain of an uncertain future threatens to do more than just gum up the works. Part of her career-spanning series of odes to the Motor City, Dominique Morisseau takes us deeply into the difficult choices each blue collar worker must face as they see the writing on the wall.


Due to frequent and sometimes graphic language, we recommend this production of America’s hottest new play to mature high schoolers and older.

Please be advised, this production makes use of herbal cigarettes and haze.

Run Time

2 hours, plus one 15-minute intermission

“A very fine new play! Squarely in the tradition of Arthur Miller, a deeply moral and deeply American play.”

The New York Times

“Morisseau has heart! Her rough-edged dialogue has a touch of street poet.”



The Takeaway
Dominique Morisseau Calls for a Collective Shift in the Theater World

This project was supported by the N.C. Arts Council, a division of the Department of Natural & Cultural Resources.


REVIEW: Skeleton Crew
by Dustin K. Britt
Chatham Life and Style
October 23, 2018

PlayMakers’ Skeleton Crew Gives Contemplative Commentary on the Decline of American Industry and Fleeting American Dream
by Lauren Van Hemert
Broadway World
October 22, 2018

Every Worker Can Identify With Skeleton Crew
by Gillian Shaw
Spectacular Magazine
October 21, 2018

Skeleton Crew Is a Haunting Elegy for the Last Days of the Detroit Auto Industry
by Byron Woods
Indy Week
October 17, 2018

REVIEW: Skeleton Crew
by Garrett Southerland
Talkin’ Broadway
October 16, 2018

Dominique Morisseau’s Skeleton Crew Shines Due to Strongly-Written Characters
by Susie Potter
Triangle Arts Review
October 13, 2018

In Skeleton Crew a way of life built from hard work is crumbling
by Christopher Wallenberg
Boston Globe
February 28, 2018