Many have large casts and an equal mix of boy and girl parts. This play discusses racial tension in the heart of the American South.

    Over the years these authoritative, critically acclaimed editions have been the preferred choice of more than three million readers for personal libraries and individual study as well as for classroom use.

    In this illuminating three-act play—here in the only English translation authorized by the Vatican—he explores relationships between men and women, the joys—and the pain—of love and marriage.The action unfolds in two settings at once: a street in a small town, outside the local jeweler's shop (people go to buy their wedding rings there), and the mysterious inner landscape of personal hopes and fears, loves and longings. Each act focuses on a different couple: the first happily planning their wedding, the second long-married and unhappy, the third about to marry but full of doubts. Writing with power and understanding about a love that survives the grave, a love that has withered and died, a love budding out of complexes and insecurities, the Pope addresses such fundamental human concerns as: What does it mean to fall in love? When do we know that a love is real—and can it last? If it dies, how do we go on living—and loving again? There are no easy answers, and there is no happy ending—such is the nature of men and women, and such is the nature of love—but there is hope, if we only acknowledge our need and accept the risks of a deep and lasting commitment.This is a play full of wisdom on a subject of great relevance to all, and it provides a special insight into the thoughts of the man who, like no other, has captured the imagination of people of all faiths throughout the world.Karol Wojtyla—Pope John Paul II—has long been involved with the theater. As a student of literature, then priest, bishop and archbishop, he acted, directed, wrote dramatic criticism, made a Polish translation of Sophocles' Oedipus Rex, and has authored six plays.

    Besides being the source for one of America's most popular musicals, AUNTIE MAME set a standard for Broadway comedy that's been sought after ever since. "Auntie Mame was a handsome, sparkling, scatterbrained and warm-hearted lady who brightened the American landscape from 1928 to the immediate past by her whimsical gaiety, her slightly madcap adventures and her devotion to her young nephew, who grew up to be Patrick Dennis. Through fortunes that rose and fell and a pleasant but brief marriage to a likable Southerner, who had the bad luck to tumble down from the Matterhorn, Auntie Mame's chief concern was that nephew, whom she raised [the play's] central figure is a woman of spirit, innate kindness and undefeatable courage " NY Post.

    This collection of screenplays for a quartet of his most distinguished films shows that he's also a writer of distinction, for the words themselves emerge, in their own right, as a form of powerfully moving literature.

    Recommended for all collections." - Choice

    

    He punctured hollow pretensions and smug prudishes - coating his criticism with ingenious and irreverent wit. In Mrs. Warren's Profession, Arms and the Man, Candida, and Man and Superman, the great playwright satirizes accepted attitudes toward woman's place in society, military heroism, marriage, the pursuit of man by woman. From a social, literary, and theatrical standpoint, these four plays are among the foremost dramas of the ages - as intellectually stimulating as they are thoroughly enjoyable.

    But even before his ship sails from New York, the atmosphere becomes charged with sinister omens.In the course of the voyage one mysterious event follows another. After his arrival in Europe, a series of baffling encounters and the abrupt disappearance of a friend and colleague combine to intensify his mounting sense of danger.Before long Strang joins the struggle against a monstrous and terrifying conspiracy which may affect all mankind, and long before it reaches its climax, Strang himself and Cecilia Hillard, the lovely American girl with whom he has fallen in love, are in deadly peril.

    

    The son of a rich New England family, he learns early in life that society expects certain attitudes and reactions of him. And with the dazzling cunning of his mind he sets out to satisfy his society, aping all its grimaces of pain and pleasure, feeling, all the while, nothing. Charlie Carewe's clinical lack of empathy makes him a potential killer and pervert as is first manifest in his blinding of a childhood friend, his attack on a girl at college, and later in bigamy, blackmail and the criminal carelessness which results in the death of his crippled brother-in-law and young niece. Although the clinical facts of Mary Astor's book are intriguing and indispensable to her novel, they are not presented here as a treatise on psychopathology but are woven into an engrossing story of a man and those he hurts. The fact of madness is handled with imagination so that Charlie Carewe emerges as a force of evil almost mystical in proportion, while the struggle of those surrounding him is woven into a pattern of credible and interesting events.

    Both men were intristic dramatists who shared a rich and abiding respect for the stage. Shakespeare was the produce of a tempestuous and enlightening era under the reign of his patron, Queen Elizabeth I; while G.B.S. reflected the racy and risque spirt of the late 19th century as the champion of modern drama by playwrights like Ibsen, and, later, himself. Culled from Shaw's reviews, prefaces, letters to actors and critics, and other writings, SHAW ON SHAKESPEARE offers a fascinating and unforgettable portrait of the 16th century playwright by his most outspoken critic. This is a witty and provocative classic that combines Shaw's prodigious critical acumen with a superlative prose style second to none (except, perhaps, Shakespeare!).

    Strindberg's most important and most frequently performed plays--"The Father, Miss Julie, A Dream Play, The Dance of Death," and "The Ghost Sonata"--are gathered together here in translations praised for their fluency and their elegance.

    In The Killer, a three-act drama staged with great success in Paris and London, he creates a study of pure evil. Bérenger, a conscientious citizen, finds himself in a radiantly beautiful city marred only by the presence of a mysterious, irrational killer. Bérenger's determination to find the murderer in the face of official indifference, and his final defeat at the hands of an impersonal, pitiless cruelty are the elements of a parable which speak with the universality found in Kafka's The Trial. The Killer, says Pierre Marcabru in Arts, is "Ionesco's best play...Never has despair had such a tone, at first ironic and ultimately lugubrious. Here good will and hate clash in an implacable encounter where evil triumphs...Ionesco has transcended his own earlier dramatic limits. Beginning with a verbal revolt, he has reached a point of logical revolt."In Improvisation, or The Shepherd's Chameleon, Ionesco plays the part of himself facing three learned scholars who claim to know better than he what he should write and how he should set about it. Inspired by one of Moliere's farces, Improvisation is a wildly hilarious comedy that sets forth the playwright's own ideas of the theater. The last play, Maid to Marry, creates a comic frenzy out of the phony verbiage in a conversation between a man and a woman.