Defending The Caveman

Defending The Caveman

Defending The Caveman

Defending the Caveman is a hilarious play about the ways men and women relate to each other. Without taking sides, this insightful comedy discusses the ongoing battle for understanding between the sexes. Defending the Caveman was written by comedian Rob Becker over a three year period during which he made an informal study of psychology, sociology, and prehistory.

Originally opening in San Francisco in 1991 Defending the Caveman soon moved to Dallas. After a year in Dallas—now an irrefutable hit—Caveman went on to sold-out engagements in Washington DC, Philadelphia and Chicago, before opening on Broadway in 1995. Running two and a half years, playing 702 performances at the Helen Hayes Theater, Caveman entered the record books as the longest running solo play in Broadway history.

Still holding that record today, Defending the Caveman has gone on to become a worldwide, rock-solid tour-de-force. Having been translated into 18 different languages, Caveman has won the hearts of millions in more than 45 countries and is sure to win yours. Couples all across America (and around the world) are in love with Defending the Caveman.

“Defending the Caveman is hysterically funny!” ~Variety

“Defending the Caveman is so perceptive, so witty, so sweetly understanding you can’t help feeling exhilarated!” ~Boston Globe

“Caveman is hilarious! A blockbuster!” ~Washington Post

Caveman has both sexes roaring with laughter and recognition, affectionately nudging each other as they recognize themselves in the stories being told on the stage. Its “outrageously funny and surprisingly sweet exploration of the gender gap” (Chicago Sun Times) has made Caveman “a comic phenomenon.” (New York Times). With hysterical observations into contemporary feminism, masculine sensitivity and the erogenous zones, Defending the Caveman mines the common themes in relationships that go straight through the funny bone and into the heart.

DEFENDING THE CAVEMAN is recommended for adult audiences.