w. inset. Kirk Douglas played on Broadway as a charming rogue who contrives to serve a short sentence in an airy mental institution rather in a prison. This, he learns, was a mistake. He clashes with the head nurse, a fierce artinet. Quickly, he takes over the yard and accomplishes what the medical profession has been unable to do for twelve years; he makes a presumed deaf and dumb Indian talk. He leads others out of introversion, stages a revolt so that they can s

    It has since been performed all over the world and is widely recognised as a classic of modern drama. A sharp and hilarious satire on political corruption, it concerns the case of an anarchist railway worker who, in 1969, 'fell' to his death from a police headquarters window.This version of the play was premiered in London in 2003.Commentary and notes by Joseph Farrell.Content: Dario Fo Plot Commentary Further reading Accidental death of an anarchist NotesQuestions for further study.

    It is a dramatic study of sexual conflict and jealousy between an older and a younger man; as well as a subtle psychological portrait of an inadequate and sexually-obsessed middle-aged man.Sleuth was filmed by Joseph Mankiewicz, with Laurence Olivier and Michael Caine in the leading roles, and this edition is fully illustrated with stills from the film, for which Anthony Shaffer wrote the screenplay.Anthony Shaffer has written several television and stage plays, including the West End success Murderer (also available from arion Boyars Publishers). He has also written many screenplays, including Play with a Gypsy, Hitchcock's Frenzy, The Wicker Man, and the Agatha Christie films Death on the Nile and Evil Under the Sun.

    With a real life personality as blah as the leaf rakes in the hardware store where he works, he's of no interest to anyone. When handed a script, however, he asks, "Who am I this time?" and on the stage he becomes the role he plays. It can be powerful, witty or even cruel but, body and soul, Harry lives the role until the curtain falls. A girl falls in love with him but it's with the Harry who is "in character." Then she fights to keep him from his usual post-curtain collapse by trapping him into starting a new scene from a classical romance—to continue offstage!

    

    a woman tells about an impromptu party that she and her lawyer husband gave in their East Village apartment. The woman is a complete phony, totally, unlovably false. She has not a shred of kindness or feeling in her sleek, fat-cat exterior, and as she talks, on and on, with a kind of self-congratulatory cleverness, her character slowly yet surely reveals itself. (1 woman.) TERRIBLE JIM FITCH is set in a motel room where the relationship between a girl hustler, and a man, a small-time crook who specializes in robbing churches, is explored. The girl is horribly scarred on the cheek, and it soon becomes evident that the man did it. Their relationship is a complex one. The man, in a way, loves the girl, being totally dependent upon her for simple human involvement. But he has a weakness for violence, a weakness played on by the girl. The man talks about his life, his mother, and generally muses on his philosophy. The girl is sullen and cowed. The outcome is never in any doubt-but the psychological motivation of the manic-depressive killer and his alternating moods is always engrossing. (1 man, 1 woman.) BAD BAD JO-JO. Kayo Hathaway is a popular writer who has created, in Bad Jo-Jo, a figure more celebrated than even James Bond. It has made Kayo, a nasty man by any standard, even his own, enormously wealthy. Kayo is leaving the country to live in Switzerland. After a farewell party, he is being interviewed by a young man, who is amusingly yet almost unbelievably gauche. Kayo is not quite convinced that he is a reporter, especially when he brings his friend to the apartment. The finale is grotesquely macabre, but the play holds the interest to the end. (3 men.)