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This article analyzes Anne Washburn’s wildly popular, and often controversial,  Mr. Burns, a Post-Electric Play  (2012) by focusing on the principal retellings that shape  Mr. Burns  and delineating how Washburn’s adaptations produce the thematic content of the play. Washburn deftly interweaves a variety of high and low culture source material within the plot. Pandemic and apocalyptic tropes provide the ecofictional narrative base to adaptations of Stephen King’s  The Stand  (1978), Euripides’s  Orestes , Martin Scorsese’s  Cape Fear  (1991), and a variety of episodes of  The Simpsons  (1989–). Through these retellings,  Mr. Burns  metatheatrically chronicles how stories shape listeners and their cultures. When the stories told simply pander to the materialism, greed, and commodification that permeate contemporary global capitalist culture, then society proliferates those solipsistic values. Washburn ultimately argues that, in what may seem like apocalyptic times, storytelling as embodied in the theater arts must instead advocate humanitarian collectivist values.

Storytelling in Apocalyptic Times: Anne Washburn’s Mr. Burns, a Post-Electric Play