I'm not obsessed with sex. I just can't stop thinking about it.’ The Fleabag bites back. A rip-roaring account of some sort of female living her sort of life.Phoebe Waller-Bridge’s debut play is an outrageously funny monologue for a female performer. It premiered at the 2013 Edinburgh Festival Fringe, performed by Phoebe herself, before transferring to Soho Theatre, London, for several successful runs, followed by a UK tour. It won a Fringe First Award in Edinburgh, the Most Promising New Playwright and Best Female Performance at the Off West End Theatre Awards, The Stage Award for Best Solo Performer and the Critics’ Circle Award for Most Promising Playwright. It received a Special Commendation in the Susan Smith Blackburn Prize and was nominated for the Olivier Award for Outstanding Achievement in an Affiliate Theatre. In 2016 it was turned into a wildly successful and ‘utterly riveting’ (Guardian) BBC television series.This edition also features an introduction by the author.‘Believe the hype, Waller-Bridge’s raw writing… really is as good as everyone says’ - The Stage'Sucker-punch funny... I've never seen a play quite like it' - Scotsman'frank and sometimes brutally funny... devastatingly good' - The Times'blessed with a rare and compelling life force... deliciously dirty and scabrously funny' - Evening Standard

    Enchantment and reality collide at a 1932 meeting between Alice Liddell Hargreaves, the original Alice in Wonderland, and Peter Llewelyn Davies, the original Peter Pan. Peter and Alice, which opened on London's West End in March 2013, stars Judi Dench and Ben Whishaw.

    During its acclaimed Off-Broadway and Broadway runs, In the Heights became an audience phenomenon and a critical success. It's easy to see why: with an amazing cast, a gripping story, and incredible dancing, In the Heights is an authentic and exhilarating journey into one of Manhattan's most vibrant communities. And with its universal themes of family, community, and self-discovery, In the Heights can be enjoyed by people of all ages and backgrounds. Among the musical's many accolades are two Drama Desk Awards, a Grammy Award for Best Musical Show Album, and a nomination for the 2009 Pulitzer Prize for Drama. Find out what it takes to make a living, what it costs to have a dream, and what it means to be home... In the Heights.

    I'm Inspector Carter. Take my case. This must be Charles Haversham! I'm sorry, this must've given you all a damn shock.After benefitting from a large and sudden inheritance, the inept and accident-prone Cornley Polytechnic Drama Society embark on producing an ambitious 1920s murder mystery. They are delighted that neither casting issues nor technical hitches currently stand in their way. However, hilarious disaster ensues and the cast start to crack under the pressure, but can they get the production back on track before the final curtain falls?The Play That Goes Wrong is a farcical murder mystery, a play within a play, conceived and performed by award-winning company Theatre Mischief. It was first published as a one-act play and is published in this new edition as a two-act play.

    As his three adult children sort through a lifetime of hoarded mementos and junk, they collide over clutter, debt, and a contentious family history. But after a disturbing discovery surfaces among their father's possessions, the reunion takes a turn for the explosive, unleashing a series of crackling surprises and confrontations.Winner of the 2014–2015 Obie Award for Best New American Play.

    It is private. Both parties have an unspoken agreement never to repeat what is said. Not even to their spouses.The Audience breaks this contract of silence. It imagines a series of pivotal meetings between the Downing Street incumbents and their Queen. From Churchill to Cameron, each prime minister has used these private conversations as a sounding board and a confessional - sometimes intimate, sometimes explosive.From young mother to grandmother, these private audiences chart the arc of the second Elizabethan Age. Politicians come and go through the revolving door of electoral politics, while she remains constant, waiting to welcome her next prime minister.The Audience by Peter Morgan premiered at the Gielgud Theatre, London, in March 2013.

    But as the two teens cram to finish their presentation on Walt Whitman’s Leaves of Grass, they learn not only how to work together, but just how fundamentally they complement each other.

    Brant’s writing [is] taut, terse and concentrated on exposing the fissures that open in the heroine’s confidence and sense of honor... Grounded has a grimly fresh topicality." - New York Times"Propulsive drama... A fascinating exploration of personality, Grounded is, of course, all the more interesting because the subject of drone warfare is so much in the news... Thought-provoking." - Washington Post"Brant’s sharp-eyed, timely script... lets no one off easy; it forces the audience into a greater awareness of our own complicity in America’s drifts. Clap all you want at the end of the play—and you’ll want to clap a lot—but the game stays with you." - Time Out New York"Brant's drama is ready for prime time... Compelling and provocative." - San Francisco Chronicle"I was blown away... Grounded powerfully focuses on the human element... Don't miss it." - The Nation"Gripping... A play that challenges us to consider the moral and mortal conflict that is so much a part of our dangerous world... Delivers quite the gut punch... Grounded could not be much more timely." - Baltimore SunSeamlessly blending the personal and the political, Grounded tells the story of a hot-rod F16 fighter pilot whose unexpected pregnancy ends her career in the sky. Repurposed to flying remote-controlled drones in the Middle East from an air-conditioned trailer near Vegas, the Pilot struggles through surreal twelve-hour shifts far from the battlefield, hunting terrorists by day and being a wife and mother by night. A tour de force play for one actress, Grounded flies from the heights of lyricism to the shallows of workaday existence, targeting our assumptions about war, family, and the power of storytelling.Winner of the 2012 Smith Prize, a 2013 Scotsman Fringe First Prize, and Shortlisted for the Amnesty International Freedom of Expression Award 2013 at the Edinburgh Fringe Festival, 2013.

    As tanks roll through Beijing and soldiers hammer on his hotel door, Joe – a young American photojournalist – captures a piece of history.New York, 2012. Joe is covering a presidential election, marred by debate over cheap labour and the outsourcing of American jobs to Chinese factories. When a cryptic message is left in a Beijing newspaper, Joe is driven to discover the truth behind the unknown hero he captured on film. Who was he? What happened to him? And could he still be alive?A gripping political examination and an engaging personal drama, Chimerica examines the changing fortunes of two countries whose futures will shape the whole world.Chimerica premiered at the Almeida Theatre, London, before transferring to the Harold Pinter Theatre in the West End.

    Kennedy Prize for Drama Inspired by American HistoryTwo siblings find themselves caught up in Detroit's 1967 riots in this new play from a top emerging American playwright.Detroit, 1967. Chelle and her brother Lank are making ends meet by turning their basement into an after-hours joint. But when a mysterious woman finds her way into their lives, the siblings clash over much more than the family business. As their pent-up feelings erupt, so does their city, and they find themselves caught in the middle of riots. Detroit '67 premiered at New York's The Public Theater in 2013, in association with the Classical Theater of Harlem and the National Black Theater."Riveting... what makes Morisseau's play so mind-blowing is the language. Her ear is in the tradition of the people's poet Langston Hughes and the people's soul collector Zora Neale Hurston; plus Morisseau is a direct heir to the magical wordsmiths named Lorraine Hansberry, Tennessee Williams, and August Wilson." - Kevin Powell, Huffington Post"An exceptional work that exemplifies the mission of the [Edward M. Kennedy] prize in its exploration of the rich history of our country through the power of theater." - Ambassador Jean Kennedy Smith"[We have] unanimously chosen to award the Edward M. Kennedy Prize for Drama Inspired by American History to Detroit '67 by Dominique Morisseau. The first in a three-play cycle about her hometown, Detroit, the play explores an explosive and decisive moment in a great American city. The jury was completely drawn into the world of Detroit '67, whose compelling characters struggle with racial tension and economic instability... Detroit '67 is a work grounded in historical understanding that also comments meaningfully on the pressing issues of our day.” - Jury panel, Edward M. Kennedy Prize for Drama Inspired by American History

    Peter Fechter: 59 Minutes chronicles the last hour of Peter Fechter’s life, a teenager in East Berlin shot while attempting to cross the Berlin Wall in 1962 with his companion. Finally, the award-winning rihannaboi95 centers around a Toronto teen whose world comes crashing in when YouTube videos of him dancing to songs by his favourite pop heroine go viral. Together these solo plays explore the lives of three queer youth and their resilience in the face of violence and intolerance.“…one of Canada’s most promising young independent theatre artists.”—Alison Broverman, Toronto StarJordan Tannahill is a Toronto-based playwright, director, and filmmaker. Through his company Suburban Beast, he has developed and presented plays at theatres including Buddies in Bad Times, Canadian Stage, Theatre Passe Muraille, and the Theatre Centre. Jordan is the 2011 recipient of the Inside Out Film Festival’s Emerging Canadian Artist Award, the 2011 Ken McDougall Award for Emerging Directors, and the 2012 Enbridge playRites Award. He runs a storefront theatre called Videofag in Toronto's Kensington Market with his partner William.

    Vanya and his adopted sister Sonia live a quiet life in the Pennsylvania farmhouse where they grew up, but their peace is disturbed when their movie star sister Masha returns unannounced with her twenty-something boy toy, Spike. A weekend of rivalry, regret, and raucousness begins!

    Girton College, Cambridge, the first college in Britain to admit women. The Girton girls study ferociously and match their male peers grade for grade. Yet, when the men graduate, the women leave with nothing but the stigma of being a 'blue stocking' - an unnatural, educated woman. They are denied degrees and go home unqualified and unmarriageable.In Blue Stockings, Tess Moffat and her fellow first years are determined to win the right to graduate. But little do they anticipate the hurdles in their way: the distractions of love, the cruelty of the class divide or the strength of the opposition, who will do anything to stop them. The play follows them over one tumultuous academic year, in their fight to change the future of education.

    Carrington. The setting was designed by Lula Chamberlain. The plays 'A Reckoning' and 'A Bar-fly' were written by Lem Doolittle, and later adapted by Joseph Wheattree for simultaneous performance as 'The Entertainment.'

    Encountering an array of daunting challenges in their “first voyage of the world,” Jason and his crew illus­trate the essence of all such journeys to follow—their un­predictability, their inspiring and overwhelming breadth of emotion, their lessons in the inevitability of failure and loss. Bursts of humor and fantastical creatures enrich a story whose characters reveal remarkable complexity. Medea is profoundly sympathetic even as the seeds are sown for the monstrous life ahead of her, and the brute strength of Hercules leaves him no less vulnerable to the vicissitudes of love. Zimmerman brings to Argonautika her trademark ability to encompass the full range of human experience in a work as entertaining as it is enlightening.

    Joe’s happy in goal but Geoff wants a headline gig. Viv just wants to beat the lesbians to the league title. Game on.

    The Big Meal had its World Premiere on February 7, 2011 at American Theater Company, Chicago IL (PJ Paparelli, Artistic Director)Playwrights Horizons, Inc., produced the New York City premiere of the Big Meal Off-Broadway in 2012.

    Althea, unable to cry, became light with grief and floated, and so was locked away. Digby, so heavy-hearted that he could never smile, one day declares war. Althea, forced out of hiding, escapes, only to encounter the solemn prince on contested land and the warring heirs begin a passionate affair. But for Althea to find real love, she must first face her own deepest fears.

    She survives, and at 14 leaves for the city, where she works a low-paying factory job and attends self-help classes to improve her chances at securing a coveted office position. When Sunny's attempts to pull herself out of poverty lead to dire consequences for a fellow worker, she is forced to question the system she's spent her life trying to master - and stand up against the powers that be. Savage, tragic and desperately funny, "The World of Extreme Happiness" is a stirring examination of a country in the midst of rapid change, and individuals struggling to shape their own destinies.

    A headliner called "the nance"—usually played by a straight man—was a stereotypically camp homosexual and master of comic double entendre. THE NANCE recreates the naughty, raucous world of burlesque's heyday and tells the backstage story of Chauncey Miles and his fellow performers. At a time when it was easy to play gay and dangerous to be gay, Chauncey's uproarious antics on the stage stand out in marked contrast to his offstage life.

    When Amir and his wife Emily (Heidi Armbruster), a white artist influenced by Islamic imagery, host a dinner party, what starts out as a friendly conversation escalates into something far more damaging.

    The grand 2013 Broadway production of Cinderella breathes new life into the classic Rodgers & Hammerstein musical from 1957, and has enjoyed several Tony Award nominations and other accolades. Our songbook features 16 selections in piano/vocal format with the melody in the piano part, including classics like: Cinderella March * Do I Love You Because You're Beautiful? * In My Own Little Corner * and Stepsisters' Lament; plus new songs added for this Broadway edition: Me, Who Am I? * Now Is the Time * There's Music in You * and more.

    Too many people close to her have passed away, and her only son has rebelled by embracing a life of religious fundamentalism. The Cave Painter is a funny, moving one-woman show about being an artist and dealing with loss.“Don Hannah has written a brilliant one woman play, a monologue… A whole life was lived, not just in summary, but with telling specific details. All it needed was a simple stage.” —Nancy Bauer, Telegraph-Journal, Saint John, New BrunswickIn The Woodcutter, a scruffy, exhausted man is lost in the woods at nightfall with only a few sentimental objects in his pockets. Alone in a clearing, he unloads his thoughts to the surrounding wilderness, ranting and raging, unravelling a story of a troubled past and of the family he adores, eventually coming to terms with the impossible truth of what he’s done.“I am so glad to have read Don Hannah's two plays, The Cave Painter and The Woodcutter, and to again have his voice in my ear. He is one of my favorite writers. These plays are archeological excavations of the soul; theatrically intimate and emotionally urgent, these two dramas create a vivid connection between performer and audience. As always, his language is robust, his characters complex, and his empathy without limit. After reading or watching his work, we walk the earth with new skin.” —Paula Vogel, author of the Pulitzer Prize–winning play How I Learned To Drive

    With a foreword by Kate Mosse.Women buy the majority of theatre tickets, make up half the acting profession, and are often the largest cohort of any youth theatre or drama club. And yet they have traditionally been underrepresented on stage. 100 Great Plays for Women seeks to address this gap by celebrating the wealth of drama available for women to perform.Theatre director Lucy Kerbel’s myth-busting book features compact and insightful introductions to 100 plays, each of which has an entirely or predominantly female cast, with the female characters taking an equal or decisive role in driving the on-stage action. Also included are ten plays for solo female performers.The result is a personal but wide-ranging reappraisal of the theatrical canon, a snapshot of the very best writing – from ancient times right up to the present day – that has female protagonists at its heart.A fascinating mixture of familiar and less well-known works dealing with a broad range of themes, it is an essential resource for all directors and producers looking for plays to stage, writers seeking inspiration and actors trying to track down a new audition piece. It is also an exciting provocation that will have readers, both male and female, championing their own personal favorites.The book is the culmination of a project by Tonic Theatre and the National Theatre Studio. Tonic Theatre was founded by Lucy Kerbel in 2011 to support the theatre industry in achieving greater gender equality in its workforces and repertoires; it partners with leading theatre companies around the UK on a range of projects, schemes and creative works. The National Theatre Studio provides support and resources for both emerging and established theatre-makers of outstanding talent, and contributes to the National’s ongoing search for and training of new artists.

    Friendship. Aaron, Candice, sex and Connor Jones. Chewing Gum Dreams is a one-woman play that recalls those last days of innocence before adulthood.Written and performed by Michaela Coel who spent her childhood in Hackney, London, Chewing Gum Dreams won the 2012 Alfred Fagon Award."Coel is by turns casually cruel, hilariously funny, naïve, wise and vulnerable. Her play tackles some difficult themes, including sexual assault, violence, and underachievement across generations…a serious new talent." Londonist"An engrossing, engaging and compelling one-woman show... nothing short of virtuosic." What's On Stage"A promising, resilient artist." Ché Walker

    Billon is an original and exciting voice."—Atom EgoyanNicolas Billon's acclaimed trilogy of plays tackles, with wit and dark humor, the banking crisis, the whale hunt, and a real estate deal gone horribly awry. Told through interwoven monologues, the plays in Fault Lines are a surprising hybrid of Wallace Shawn and Neil Labute.Nicolas Billon's plays and translations have been produced at the Stratford Shakespeare Festival, Soulpepper Theatre, and the Canadian Stage.

    Everyone's favourite quizmaster, Daniel Caplin, gives tonight's gifted contestants the chance to play for the ultimate prize - to discover what lies behind the Door of Truth. Newcomer Sandra has always been desperate to find out and she's more than a threat to our reigning champion. Tonight, there is even more to play for. Can the show survive what she discovers?Bullet Catch: The high-risk Bullet Catch has claimed many lives since its conception in 1613. Modern-day marvel William Wonder presents a theatre show with magic, mindreading, levitation and, if you dare stay, the most notorious stunt of them all. A unique theatrical experience exploring the world of magic, featuring mind-reading, levitation, and the most notorious finale in show business.One of Scotland's most exciting theatre-makers, Rob Drummond pushes the boundaries of popular culture in these two unique pieces of theatre.

    Two boats float aimlessly on an ocean that conceals the remains of civilization and history. One boat carries a father and daughter, the last survivors of an unspeakable catastrophe; the other carries the only hope for a new beginning. Daniel Macdonald crafts a stunning tale of myth and reality at the end of the world and at its creation.Daniel Macdonald is a playwright, director, and educator. His plays have been produced and workshopped in Canada and the United States. Pageant premiered at the Alberta Theatre Projects playRites Festival and has been produced in Regina, Fort MacMurray, and Austin, Texas. MacGregor's Hard Ice Cream and Gas premiered at Persephone Theatre in Saskatoon and has been produced at Prairie Theatre Exchange (Winnipeg), Ship's Company (Nova Scotia), and Shadow Theatre (Edmonton). His play Velocity was part of the Lark Play Development Center's Playwrights Week 2007 in New York and was part of the Saskatchewan Spring Festival of New Plays. He has written several pieces with and for high school students including the dramas Waking and Tragedie. He also wrote several short pieces for the Globe Theatre's On the Line series (12 Menus, Negotiations). Macdonald is a recipient of the Regina Writer's Award and is a two time recipient of the SIMPIA (Saskatchewan) award for film acting. Daniel is past president of the Saskatchewan Playwrights Centre and has served on its board for eight years. He lives, writes, and teaches in Regina, Saskatchewan.

    This second volume of his work collects together: Our Teacher's a Troll, Orphans, Taking Care of Baby, DNA and The Gods Weep. Also features a foreword by journalist, author and critic, Aleks Sierz."Without doubt, Kelly is one of the most multi-talented British playwrights to emerge in the last decade" - Aleks Sierz (from the foreword)

    Facing Our Truth's purpose is to incite serious discussion in our collective communities around these urgent issues.Caution: These plays cover issues faced by the black community, death, and politics.

    Instantly, he is pulled into the gang culture he has tried to escape, and the city spirals out of control as battle lines are drawn.

    Her college is in dire financial straits and a plan to close its tiny, all-but-forgotten natural history museum is sending unexpected shock waves across campus and out into the local community. At home, her ex-lover, Greer, is staying with her-sending shock waves of a different sort through her relationship with her current (and much younger) girlfriend, Andromeda. Town-gown relations are in tatters! The local newspaper is erupting in protest! Even the awful, historically inaccurate dioramas in the museum have started mouthing off! A screwball sex comedy about the perils of monogamy, certainty, and academic administration.

    I'm changing things. This is it.Three old friends in their mid-twenties. One remarkable day. For Ted, Danny and Charlotte, it’s time to seize control. Make a difference. Change things. This is it.A day trip through the parks and raves and cafes of South London, where life is what you make it. The rapid fire words of Kate Tempest paint a picture of lives less ordinary in an unforgiving world, sound-tracked by an exhilarating score.The drama mixes rap-style poetry delivered with microphones and self-reflexive addresses to the audience.A play about love, life and losing your mind, and the first play from one of the UK’s most exciting performance poets, Kate Tempest.

    At Tilbury Docks, Rani and Abdul step ashore after the long voyage from India. One has to battle a society who deems her a second class citizen, the other forges an astonishing entanglement with the ageing Queen who finds herself enchanted by stories of an India she rules but has never seen.The Empress uncovers remarkable unknown stories of 19th century Britain, the growth of Indian nationalism and the romantic proclivities of one of our most surprising monarchs.

    Different world from when I was a boy. I came over here when I wasn't much taller than you are now. Different world. You know what getting old is? Getting old is slowly losing everything that you're familiar with.Man has just set foot on the moon. The streets of Brooklyn are tense. The Irish Mafia is desperately trying to hold on to their power and more importantly their identity. After all, they built these streets. In this edgy new story, relationships between family, friends and enemies are ultimately challenged. Hold tight as Drum Belly casts you into New York City's deep and dark underworld.

    Unfortunately for Carlton, the chase has come to an end in a police station in the Ozarks town of Lodus. With a pair of DHS agents on the way, Carlton's last hope is in the people around him: an unsympathetic police chief, an ambivalent administrative assistant, and fellow prisoner Tanya Shepke, a motor-mouthed recidivist who's turned herself in for drunk driving and thinks Skynyrd should be on the new money. The revolution starts now

    The marvel of Mr. Eno’s voice is how naturally it combines a carefully sculptured lyricism with sly, poker-faced humor. Everyday phrases and familiar platitudes—‘Don’t ever change,’ ‘Who knows’—are turned inside out or twisted into blunt, unexpected punch lines punctuating long rhapsodic passages that leave you happily word-drunk." —Charles Isherwood, New York Times on Title and Deed"Title and Deed is daring within its masquerade of the mundane, spectacular within its minimalism and hilarious within its display of po-faced bewilderment. It is a clown play that capers at the edge of the abyss... Eno’s voice is unique; his play is stage poetry of a high order. You can’t see the ideas coming in Title and Deed. When they arrive—tiptoeing in with a quiet yet startling energy—you don’t quite know how they got there. In this tale’s brilliant telling, it is not the narrator who proves unreliable but life itself. The unspoken message of Eno’s smart, bleak musings seems to be: enjoy the nothingness while you can." —John Lahr, New Yorker"Eno is a supreme monologist, using a distinctive, edgy blend of non sequiturs and provisional statements to explore the fragility of our existence... There are a lot of words, but they are always exquisitely chosen... Oh, the Humanity reveals that we are beautiful walking tragedies blinking with absurd optimism into the camera lens of history." —Lyn Gardner, GuardianKnown for his wry humor and deeply moving plays, Will Eno's "gift for articulating life's absurd beauty and its no less absurd horrors may be unmatched among writers of his generation" (New York Times). This new volume of the acclaimed playwright's work includes five short plays about being alive—Behold the Coach, in a Blazer, Uninsured; Ladies and Gentlemen, the Rain; Enter the Spokeswoman, Gently; The Bully Composition; and Oh, the Humanity—as well as Title and Deed, a haunting and severely funny solo rumination on life as everlasting exile.WILL ENO lives in Brooklyn, New York. His plays include The Flu Season, Tragedy: a tragedy, King: a problem play, and Intermission. His plays have been produced in London by the Gate Theatre and BBC Radio, and in the United States by Rude Mechanicals and Naked Angels. His play The Flu Season recently won the Oppenheimer Award, presented by NY Newsday for the previous year’s best debut production in New York by an American playwright.

    Blending the cultures of Ancient Greek and Indigenous storytelling, Enoch weaves a commentary on contemporary Aboriginal experience."

    Nineteen-year-old science genius Luke finally has some peace to work on the extraordinary box in his living room, holed up in a dingy flat on a near-abandoned Middlesbrough housing estate.After his unbalanced brother Rob introduces him to a wealthy out-of-towner they're thrown into a dangerous world that threatens to tear the brothers apart and unleash the power inside his invention.Brilliant Adventures is a fast paced tale of brotherhood, addiction and breaking the laws of physics.

    She likes the simple things in life: cherry sambuca, hairbrush-in-the-mirror karaoke with Rihanna and winding her Dad up. Oh, and she’s a boxer.London, 2012. Women will step into the Olympic boxing ring for the very first time. And it’s in Stratford. Down the road. As Chloe trains for the fight of her life, she is left winded by two life-changing events. In a man’s world, can she prove she’s still worth the title?

    This tragic realism, evident by seemingly inconsequent details, will be found at its best in ‘Trifles,’ a one-act play that scored a great success when the Provincetown Players originally produced It. ‘Trifles’ is one of the best one-act plays that has been written in America. It moves with a quiet, inexorable piling up of incidents that eventually make clear to the audience who is guilty of the murder about which the action hinges. Miss Glaspell belongs to that group of playwriters of which Eugene O'Neill is the foremost example. Naturalism is their object. There must be no melodramatics.The satiric vein of Miss Glaspell may be found in such plays as ‘Woman’s Honor’ and ‘Close the Book.’ ‘Close the Book,’ which satirizes the desire to be anything but conservative and as other folk are, is delicious in its implications…. Miss Glaspell's style is entertaining and easy to read.”—The New York TimesOf course, this Times review was written long before the fairly recent renewed interest in Glaspell’s work as a subject of literary scholarship. Her plays amuse on the level noted in the review but also stand out as appropriate subjects for academic literary and cultural fields. Note: Included is the diagram from “Tickless Time”, redrawn for better legibility specifically for this edition.

    In celebration of its 35th anniversary, a revival of this beloved musical opened on Broadway in 2012. Our songbook features fresh digital engravings of 13 tunes including new songs added just for this edition! Contains piano/vocal arrangements of: Annie * Easy Street * I Don't Need Anything but You * I Think I'm Gonna like It Here * It's the Hard-Knock Life * Little Girls * Maybe * A New Deal for Christmas * N.Y.C. * Something Was Missing * Tomorrow * You Won't Be an Orphan for Long * You're Never Fully Dressed Without a Smile.

    Information is leaking to the enemy. Who is the spy? No one is privy to this information except Jefferson's advisors, and they are beyond repute. Based on a true story, Lady Patriot reveals an intimate look into the prejudices and patriotism of three ladies who lived during the Civil War: Varina Davis, Elizabeth Van Lew, and Mary Bowser. Lady Patriot combines Lange's signature comedy and drama as it peels away traditional stereotypes prevalent in the South during the Confederacy.

    Can Hayley be saved or save herself from the Zombie invasion? This dark comedy drama by Linda McLean is a modern day fairytale of Zombies, Banshees and Chinese takeaway.

    Imaginative, humorous plays presented by celebrated children's author Julia Donaldson and part of Bug Club - the reading scheme loved by kids across the UK.

    

    Based in Singapore, Huzir is one of Southeast Asia’s preeminent playwrights. The twelve plays in this collection bear testimony to his gift of imagining characters and deploying language to offer unexpected insights into the personal, the social and the political. “Huzir Sulaiman: Collected Plays 1998 – 2012” offers readers an opportunity to acquaint themselves with an impressive body of work that has lit up the stage over the past 14 years, and to discover for themselves the virtuosic use of language and impeccable craft which have cemented Huzir Sulaiman as one of the most important playwrights of his generation.The collection is edited by and contains an introductory essay by Kathy Rowland, the respected theatre writer and researcher. Kathy co-founded and was managing editor of the online arts magazine, kakiseni.com, which launched the BOH Cameronian Arts Awards, Malaysia’s first Performing Arts Awards. She edited and introduced Krishen Jit: An Uncommon Position, published by the Contemporary Asian Arts Centre of Singapore.THE PLAYS IN HUZIR SULAIMAN: COLLECTED PLAYS 1998 – 2012Atomic Jaya The Smell of LanguageHip-Hopera Notes on Life & Love & PaintingElection Day Those Four Sisters FernandezOccupation Whatever That IsThey Will Be Grateful Opiume: The Narrator’s TaleCogito The Weight of Silk on Skin

    "This show has guts!" proclaimed Richard Zoglin of Time magazine about this 2012 revival, which won the Off-Broadway Alliance Award for Best Musical Revival. It features music by Michael Gore, lyrics by Dean Pitchford, and book by Lawrence D. Cohen (based on the novel by Stephen King). Our folio features 18 songs from that revival, including: Alma Mater * And Eve Was Weak * Carrie * Carrie (Reprise) * Do Me a Favor * Dreamer in Disguise * Epilogue * Evening Prayers * I Remember How Those Boys Could Dance * In * A Night We'll Never Forget * Once You See * Open Your Heart * Unsuspecting Hearts * When There's No One * Why Not Me? * The World According to Chris * You Shine.

    They've just packed up all of their belongings and driven halfway across the country, to start a new life together in Chicago. Their moving day doesn't go exactly as planned, though, and things become slightly more complicated when all of their parents show up to help! Can a two bedroom apartment contain all of the love, laughs, worry and wisdom that's about to happen? This brand new comedy from the author of Nana's Naughty Knick

    From costumes, scenery, and props to memorization, character development, and creative writing, there is a vast array of skills to develop and explore. This book is a great resource for any drama teacher who wants to provide alternative ways to develop unique drama-related skills. Sixteen different projects each contains an objective, an overview, a project timeline, idea variations, tips and tricks, fun facts, and more. Most projects can be modified to be an individual or a group project and can take from one to five class periods, depending on how much time you want to devote to a particular topic or component. A couple chapters even include fun worksheets for the students to complete on their own or in a group.

    A cowardly young gentleman named Lucidus initiates a pistol duel then finds that he can't go through with it. He hires a common criminal to fight in his place, only to have the scoundrel make a bloody mess of things. As duel follows duel with many shots fired, this coward finds his reputation growing beyond his wildest expectations.Nominee! Four 2011 Lucille Lortel Awards, including Outstanding Play

    Tanya Ronder's thrilling play is an epic tale of belonging, identity and the things we pass on.Table was the first play to be staged in The Shed, a temporary venue at the National Theatre, London, to celebrate original, ambitious and unexpected theatre. It premiered in April 2013 in a production directed by Rufus Norris.

    But this abruptly comes to a halt when her 19 year old god-daughter Minnie moves in to take up a place at university. Minnie’s arrival shines a harsh light into the corners of Lou’s life – revealing it to be not as it seems. Her relationships are complicated, her neighbors are closing in on her, and the clock is ticking. What does it mean to be a grown up?Godchild premiered at the Hampstead Theatre in October 2013, directed by Michael Attenborough.Deborah Bruce is a writer and theatre director. As a director, her credits include Scarborough (Royal Court), Helen (Shakespeare's Globe) and Blame (Arcola Theatre). Her play The Distance was nomnated for the 2012 Susan Smith Blackburn Prize.

    The young twins are brought home with Dr. Glass, whose questionable practices are soon scrutinized by a young doctor who might be the twins’ only hope for a normal life.

    Her college is in dire financial straits and a plan to close its tiny, all-but-forgotten natural history museum is sending unexpected shock waves across campus and out into the local community. At home, her ex-lover, Greer, is staying with her—sending shock waves of a different sort through her relationship with her current (and much younger) girlfriend, Andromeda. Town-gown relations are in tatters! The local newspaper is erupting in protest! Even the awful, historically inaccurate dioramas in the museum have started mouthing off! A screwball sex comedy about the perils of monogamy, certainty, and academic administration. (From Samuel French.)

    On the other hand, we have a culture that has decided to deprive mankind of the knowledge of ancient Greece, choosing to reveal only those elements which were considered useful so as to establish the current building of the modern civilization. But today, with the help of technology, we can travel other paths, to use the knowledge that will lead us into other lost knowledge which may overturn our values and the things we take for granted.The Achilleis, the most famous work of the ancient world, written by the father of the theater, Aeschylus, is reborn in front of the unsuspecting eyes of the audience-reader after 2500 years from its first presentation. This reconstruction is not just the accumulation of data studied for centuries by scientists, but it literally brings back to life the lost tragedy of Achilles, the most famous hero in the history of mankind.These are stories of passion and revenge, of violent conflicts and battles and reflections, of loyalty and of redemption. This is the first work in the history of human civilization which refers to the relationship of two men and manages to overcome the narrow limits of the flesh and become a chariot of eternal faith, devotion, and forgiveness. If Romeo and Juliet is the most emblematic work symbolizing the relationship between a boy and a girl, then, in comparison, the story of Achilles and Patroclus, coming from the pen of Aeschylus, finds its exact match overturning the image we had until now for homosexuality. This is a deeply tender and also a tragic work, with love being born amidst the fiercest battle. It is yet another link connecting Greece with its glorious past and it is one more step in the struggle for an ascension so as to understand the miracle of the ancient Hellenic civilization.The text presented as Malandris worked on it, who accepted from the beginning that he used parts of Homer to manage an approach and possibly with some interfere by the director, it was a text in a normal form. So maybe the play lacks some Aeschylian conflicts but to have some idea of a lost play of Aeschylus, when this happens in a good performance, is not bad at all. Not at all. Because the performance inspired by this text could be characterized only by the word “magic”. “A thrilling lesson of ancient tragedy” Eleutheros Typos, Panagiotis Timogiannakis 10 August 2004A LOST tragedy by Aeschylus has been recovered from ancient ashes. Called Achilleis, it is part of his trilogy about the Trojan War. We knew that it existed. The play was mocked by Aristophanes and glossed by ancient commentators, but only fragments and references have survived. The only known copy had vanished, presumed burnt in the fire that destroyed the Library of Alexandria in the late third century AD.During excavations in Egypt, archaeologists discovered papyrus fragments of Achilles inside mummies.Debris from the fire had been discarded as rubbish and used as stuffing for the dead.The German scholar Bruno Snell placed together the fragments.Elias Malandris, a Greek author, has reconstructed the entire play, using other fragments from the glosses and parts of the Iliad to fill gaps. Aeschylus based his tragedies on Homer, so there is justification for this pastiche.As a result we have rescued from oblivion the closest possible version to Aeschylus’ lost masterpieces..Aeschylus wrote his tragedies about three centuries after Homer and he draws heavily on the language and morality of Homer.To recover a lost tragedy by him is a crowned jewel of literature..

    But the joy of reunion unleashes long-suppressed truths. An exuberant and thought-provoking mix of comedy, tragedy and family drama, Pandora’s Box reveals the heartbreak behind the difficult choices some parents must make – and the price their children pay.

    

    Kamlesh—young, gay and clinically depressed—invites his friends home ostensibly for an evening of camaraderie. However, with the arrival of his sister and her fiancé, a series of dramatic confrontations is set into motion, leading to startling revelations and unexpected catharsis.‘At last we have a playwright who gives sixty million English-speaking Indians an identity’—Alyque Padamsee‘Powerful and disturbing’—The New York Times

    In this gritty and urban drama, two homeless teenagers meet while seeking refuge in the basement of an abandoned building. What begins as a friendship sadly evolves into a mutual suicide pact. This widely-produced one-act play features roles for two teen actors and requires a simple set.

    It may be used freely to perform in any environment. No Royalties owed. You do not have to buy multiple copies to perform, copy this book. You may change lines and scenes. Please give credit to the original author as inspiration of the work. The elder Dumas, who wrote many successful plays, as well as the famous romances, said that all he needed for constructing a drama was "four boards, two actors, and a passion." What he meant by passion has been defined by a later French writer, Ferdinand Bruneti�re, as a conflict of wills. When two strong desires conflict and we wonder which is coming out ahead, we say that the situation is dramatic. This clash is clearly defined in any effective play, from the crude melodrama in which the forces are hero and villain with pistols, to such subtle conflicts, based on a man's misunderstanding of even his own motives and purposes. In comedy, and even in farce, struggle is clearly present. Here our sympathy is with people who engage in a not impossible combat-against rather obvious villains who can be unmasked, or against such public opinion or popular conventions as can be overset. The hold of an absurd bit of gossip upon stupid people is firm enough in "Spreading the News"; but fortunately it must yield to facts at last. The Queen and the Knave of Hearts are sufficiently clever, with the aid of the superb cookery of the Knave's wife, to do away with an ancient and solemnly reverenced law of Pompdebile's court. Again, in comedies as in mathematics, the problem is often solved by substitution. The soldier in Mr. Galsworthy's "The Sun" is able to find a satisfactory and apparently happy ending without achieving what he originally set out to gain. Or the play which does not end as the chief character wishes may still prove not too serious because, as in "Fame and the Poet," the situation is merely inconvenient and absurd rather than tragic. Now and then it is next to impossible to tell whether the ending is tragic or not. It is natural for us to desire a happy ending in stories, as we desire satisfying solutions of the problems in our own lives. And whenever the forces at work are such as make it true and possible, naturally this is the best ending for a story or a play. Where powerful and terrible influences have to be combated, only a poor dramatist will make use of mere chance, or compel his characters to do what such people really would not do, to bring about a factitious "happy ending." One of the best ways to understand these as real stage plays is through some sort of dramatization. This does not mean, however, that they need be produced with elaborate scenery and costumes, memorizing, and rehearsal; often the best understanding may be secured by quite informal reading in the class, with perhaps a hat and cloak and a lath sword or two for properties. With simply a clear space in the classroom for a stage, you and your imaginations can give all the performance necessary for realizing these plays very well indeed. Of course, you must clearly understand the lines and the play as a whole before you try to take a part, so that you can read simply and naturally, as you think the people in the story probably spoke. Some questions for discussion in the appendix may help you in talking the plays over in class or in reading them for yourself before you try to take a part. You will find it sometimes helps, also, to make a diagram or a colored sketch of the scene as the author describes it, or even a small model of the stage for a "dramatic museum" for your school. If you have not tried this, you do not know how much it helps in seeing plays of other times, like Shakespeare's or Moli�re's; and it is useful also for modern dramas. Such small stages can be used for puppet theatres as well. "The Knave of Hearts" is intended as a marionette play, and other dramas-Maeterlinck's and even Shakespeare's-have been given in this way with very interesting e

    Mann, a forty-eight-year-old, buttoned-down, middle management type in a pinstriped grey suit, who feels himself losing touch with his job, his wife, his children, and the rest of his urban life. He wins tickets to a production of Chekhov’s Three Sisters and realizes that the mid-life cocoon he has spun around himself is beginning to unwind.And Slowly Beauty, first performed in French in 2003, was created collaboratively by Michel Nadeau and colleagues from his Quebec troupe, Théâtre Niveau Parking. With the intensity of an electric current striking a reflecting pool, Nadeau shows us how Chekhov’s century-old drama about the yearning of three sisters in a dreary provincial town directly addresses Mann’s own stifled existence and liberates him from his self-imposed “gulag.”Mann returns to see Three Sisters a second time, finding that its themes of beauty and poetry lost to the monotony of everyday existence mirror many aspects of his own existence. At the same time, Mann’s dying friend realizes that he is for the first time able to appreciate the astonishing beauty of trees outside his window. The irony of such a deathbed admission is not lost on Mr. Mann.With Chekhov’s characters and themes coming to inhabit the protagonist’s mind and life, emphasized by the repeated image of geese flying overhead – these birds do not question the purpose of their journey but find it sufficient to fly in unison – And Slowly Beauty speaks eloquently to the power of art to transform lives.Cast of 3 women and 3 men.

    This is the screenplay for a film adaptation of The Indelicates' David Koresh Superstar concept album.

    The first human to visit Mars is relieved to find that the Martians treat him kindly and have even built him a house like his home on Earth - but with one big difference.Dramatization by Dennis Etchison ; created by Rod Serling.Hosted by Stacy Keach ; starring Blair Underwood.1 online resource (1 sound file, approximately 30 min.).

    Actors are required to perform monologues regularly throughout their career: preparing for drama school entry, showcasing skills for agents or auditioning for a role. Following on from the bestselling first volume (2008), this book showcases selected monologues from some of the finest modern plays by some of today’s leading contemporary playwrights. These monologues contain a diverse range of quirky and memorable characters that cross cultural and historical boundaries. The pieces are helpfully organized into age-specific groups: ‘Teens’, ‘Twenties’, ‘Thirties’ and ‘Forties plus’.This book and its companion volume are must-have collections of monologues by leading contemporary playwrights, featuring a diverse range of quirky and memorable characters that cross cultural and historical boundaries. Includes work by Mojisola Adebayo, Richard Bean, Lee Blessing, Will Eno, Judith Thompson, Laura Wade, and Arnold Wesker.

    As Siegfried, the cartoonist, remarks; ‘If you cut succulent slices off people, then everyone laughs. However, if the scalpel slips, then you’re down to the bone. But then, of course, comedy is tragedy speeded up.’An Evening with the G.L.C. is a play about public morality versus political expediency, and it exposes the dire state of London. Labour Councillor Rennip, who is on the G.L.C., faces some very awkward questions from his son on the combative TV Current Affairs programme ‘Confrontation’.Shakebag is a farcical comedy about an amateur company’s chaotic rehearsal of Macbeth and A Midsummer Night’s Dream on the Bard’s birthday while the amused ghost of Shakespeare looks down from on high at the antics of his thespian ‘mechanicals’.Succubus is Lili, who may, or may not be, a Mesopotamian storm demon or the Moon Goddess Herself. Mark, the Born-Again Christian, confronts Lili with his burning secret, and the play explores female myths, male fears, paganism and Christianity.

    A witty and relevant interpretation of the classics, THESE SEVEN SICKNESSES is an epic examination of the past and a window on the present. "One of the many surprising things about director Sean Graney's SOPHOCLES: THESE SEVEN SICKNESSES - his altogether fascinating and original interpretation of the surviving tragedies by the seminal force in ancient Greek theater (and most all of Western theater that followed) - is how often he and his actors make the audience laugh. To be sure, much of the laughter in this epic production is blackly comic - an acknowledgment of the colossally demented mess human beings make of things, whether political or personal. It is laughter in the face of monumental violence, selfishness, lies, betrayals, egotism, envy, lost honor, an unending cycle of carnage and revenge, and a general madness, especially in wartime. It is the laughter of self-awareness and compulsion. It is the laughter that comes when the horrors just keep piling up, and the maniacal absurdity of it all seems unstoppable. And it is laughter (and attitude) that could not be more hip, contemporary or, as the title suggests, 'sick.' Graney's intensely visceral adaptation, which runs about three hours and 40 minutes is bookended by Sophocles's most familiar plays - beginning with OEDIPUS THE KING and ending with both ELEKTRA and ANTIGONE." -Hedy Weiss, Chicago Sun-Times "Over the course of this ambitious adaptation of Sophocles's seven surviving plays, blood erupts from just about every orifice, onto just about every article of clothing and just about every square inch of the narrow stage." -Catherine Rampell, New York Times "When Aristotle immortalized the term hubris, he could well have been talking about Sean Graney ... who, this fall, decided to adapt and stage not one Sophoclean drama, but all seven at once ... The rakish SEVEN SICKNESSES would be a boon to many colleges." -Chris Jones, Chicago Tribune

    This play, from 1923–1924, and never before published, is about a remarkable opera singer who visits the isolated Born family farm, stealing the hearts of the father, two sons, and daughter, while creating family frictions resolved only by the death of the father.

    It premiered at the Traverse Theatre, Edinburgh, in August 2013.

    Don't miss it." - Independent"Credible Likeable Superstar Role Model effortlessly manages to get a hundred adults to do an animal dance, and contrary to its heartbreaking, tear-inducing final note, leaves you optimistic that you can go out into the “real world” and change it." - Exeunt Magazine"With flair for silliness and effective humour, it is well devised and engaging." - Telegraph"An entertaining hour that is cool, funny, heartwarming and infectiously optimistic too." - Guardian

    Sooner or later your life becomes parched. Its rivers run thin. Its mountains have melted into the distance as blue and cool as memories.An ordinary couple with an extraordinary love relive their darkest secrets, deepest passions and heart-breaking truths.Throughout all the moments of doubt that life has thrown at them, as long as they can be together, they wouldn't change a thing. This is their final opportunity to say all the things they never had the chance to say before.

    At an impasse with her family over how she should spend her autumn years, Alexandra's long-absent son enters as a most unlikely mediator, to try and save his mother's life as much as his own.

    Propelled by the beat of classic soul, smooth R&B and disco, this is the soundtrack of a boy’s coming of age in 70s and 80s Philadelphia.A Boy and His Soul was the recipient of the Lucille Lortel Award Best Solo Show, GLAAD Media Award Best Play On or Off Broadway and the ITBA Best Solo Show awards."A blazingly charismatic performer." New York Times"Personal, poignant and pungent… [an] evocative, moving piece about a man who finds himself and a large part of his identity through music." The Stage"A beautiful and tender one-man show." Daily Telegraph"Its sprinkling of sharp observations coupled with a heartfelt love for the music makes A Boy and His Soul hard to resist." What's On Stage"The characters created by Domingo… are so colourful, so likeable, so simply yet vividly embodied… it is difficult to resist." Official London Theatre"Leaves you yelping for more." Observer

    Over 1,700 submissions were received, reflecting the imagination, creativity, and psyche of the nation. The result was an evening of plays by Maeve Binchy, Dermot Bolger, Colum McCann, Rosaleen McDonagh, Sean McLoughlin, Ardal O'Hanlon, Tom Swift, and Michael West, presented alongside a selection of those submitted by members of the public.

    Ehrlich)Numbers (Gregg Kreutz)Perspective (James McLindon)Reinventing the Wheel (Megan Lohne)She's Bound to Know (Michael Weems)This Flight Tonight (Wendy MacLeod)Unintelligent Life (John McKinney)Your Kiss is on My List (Christopher LockheardtPlays for Three or More Actors:All My Problems (Laurie Graff)Battle Tactics (Andy Haynes)Black and White (Donna Hoke)The Date (Scene) (Mike Salomon)Captain Rockets Versus the Intergalactic Brain-Eaters (Don Nigro)The Corporate Ladder (Lisa Soland)Erosion (Scott McCrea)He's Really a Good Guy (Rory Leahy)Hurt (Saviana Stanescu)Mendacity of The Hear of Elephants in the Room (Carlos Murillo)Museum Place @2 (William Fowkes)Organic Seed (Patrick Gabridge)Pass Go: A Monopoly Play (Brian James Polak)Pocket Universe (Duncan Pflaster)The Promise (Jeffrey Strausser)Rat-Tat-Tat (David Guaspari)The Slasher's Lament (Michael Puzzo)A Small Fishing Nation Wedged Between Estonia and Latvia (Andrew Black)Standing Room Only (Aren Haun)Switzerland (Mayank Keshaviah)True Enough (Sonya Sobieski)Twenty-Three Hundred (Mark Rigney)What are You Going to Be? (Steven Korbar)Where were You When I Was Coming? (C.S. Hanson)Zombie Love (Earl T. Roske)

    

    Guaranteed to challenge readers’ prejudices, Desmond Sim’s Six Plays is a bold and often hilarious exploration of sexuality, polygamy and love in all its guises.Reviews:On Autumn TomyamWinner of Best Original Script, 2002 DBS Life! Theatre Awards“An instant hit with the critics…” –The Straits Times“Theatre-goers went to see Autumn Tomyam expecting something hot and spicy, and ended up getting a little more—a touching story about love and truth set against a backdrop of social commentary on racial and ethical issues.”–The Business Times“Desmond has created situations and characters that will test and challenge our prejudice levels.”–Ekachai UekrongthamOn The Swimming Instructor“An audience favourite.” –The Business TimesOn Wife #11 “… a gem…beautiful in its subtlety.” –The Straits TimesOn Postcards from Rosa “… heartwarming…For many, Peranakan culture has been reduced to nothing more than the kebaya or sambal belacan. But Sim has lovingly resurrected his heritage from childhood memories.” –Today

    Hollywood. Sue Mengers, the first female ‘superagent’ at a time when women talent agents of any kind are almost unheard of, invites you into her Beverly Hills home for an evening of dish, secrets, and all the inside showbiz stories that only Sue could tell…Back in the 1970s, Sue Mengers represented almost every major star in Hollywood; her clients were the talk of the town and her glamorous dinner parties were legendary. But by 1981 the glory days were fading. Her time was passing as a sleek and corporate New Hollywood began to emerge. The phone’s not ringing so much these days and Sue is forced to face the inevitable truth: the credits roll sooner than you think.Starring Bette Midler, who makes her return to the stage in her first Broadway play in over 30 years.A new play by three-time Academy Award-nominated screenwriter and playwright John Logan following the recent success of Peter and Alice in the West End and his play Red, which played London to great acclaim before transferring to a smash hit Broadway run where it won 6 Tony Awards including Best New Play. Logan’s work as a screenwriter includes the latest James Bond movie Skyfall, Sweeney Todd, The Aviator, Hugo, Gladiator, The Last Samurai, Rango, Coriolanus, and Any Given Sunday.