In Autobahn, Neil LaBute's provocative new collection of one-act plays set within the confines of the front seat, the playwright employs his signature plaintive insight to great effect, investigating the inchoate apprehension that surrounds the steering wheel. Each of these seven brief vignettes explore the ethos of perception and relationship--from a make-out session gone awry to a kidnapping thinly disguised as a road trip, a reconnaissance mission involving the rescue of a Nintendo 64 to a daughter's long ride home after her release from rehab. The result is an unsettling montage that gradually reveals the scabrous force of words left unsaid while illuminating the delicate interplay between intention and morality, capturing the essence of middle America and the myriad paths which cross its surface.

    But for the people of Laramie–both the friends of Matthew and those who hated him without knowing him–the tragedy was personal. In a chorus of voices that brings to mind Thornton Wilder’s Our Town, The Laramie Project allows those most deeply affected to speak, and the result is a brilliantly moving theatrical creation.

    Also living in Zurich at this time was a British consula official called Henry Carr, a man acquainted with Joyce through the theater and later through a lawsuit concerning a pair of trousers. Taking Carr as his core, Stoppard spins this historical coincidence into a masterful and riotously funny play, a speculative portrait of what could have been the meeting of these profoundly influential men in a germinal Europe as seen through the lucid, lurid, faulty, and wholy riveting memory of an aging Henry Carr.

    Baker practices astonishing verbal magic over and over again." - Clancy Martin, Paris Review"Strikingly intimate... Free of the stilted or formal locutions that clutter up some of the more antique-sounding translations... Ms. Baker has given the play a natural but distinctly contemporary American sound." - Charles Isherwood, New York Times"Devastatingly beautiful... People are going to be talking about this one for years." - Jacob Gallagher-Ross, Village Voice"More than a modern-dress treatment of a classic work, it's a fresh rethinking of the material from the perspective of a modern mind." - Marilyn Stasio, VarietyAnnie Baker, one of the most celebrated playwrights in the United States, lends her truthful observation and elegant command of the colloquial to Anton Chekhov's despairing masterpiece Uncle Vanya. A critical hit in its sold-out Off-Broadway premiere, Baker's telling is a refreshingly intimate and modern treatment of a Chekhovian classic.Annie Baker's plays include The Flick (The Susan Smith Blackburn Prize, Obie Award), The Aliens (Obie Award), Circle Mirror Transformation (Obie Award) and Body Awareness. Her work has been produced at more than a hundred theaters in the U.S. and in more than a dozen countries internationally. Recent honors include a Guggenheim Fellowship, Steinberg Playwright Award and New York Drama Critics Circle Award. She is a resident playwright at the Signature Theatre.

    When the patriarch of the Weston clan disappears one hot summer night, the family reunites at the Oklahoma homestead, where long-held secrets are unflinchingly and uproariously revealed. The three-act, three-and-a-half-hour mammoth of a play combines epic tragedy with black comedy, dramatizing three generations of unfulfilled dreams and leaving not one of its thirteen characters unscathed.

    But when Abby finds Zack at home one afternoon when he's supposed to be at work, the questions and answers that follow shake the foundation of their seemingly beautiful life.

    The fledgling friendship soon veers out of control, shattering the fragile hold that newly unemployed Ben and burgeoning alcoholic Mary have on their way of life—with unexpected comic consequences. Detroit is a fresh, offbeat look at what happens when we dare to open ourselves up to something new. After premiering at Chicago's Steppenwolf Theatre last year to rave reviews, Lisa D'Amour's brilliant and timely play moves to Broadway this fall.

    Nor does his father, Tilden, a hulking former All-American footballer, or his uncle, who has lost one of his legs to a chain saw. Only the memory of an unwanted child, buried in an undisclosed location, can hope to deliver this family.

    Both are struggling to escape from lingering parental domination and to establish their own lives and identities. In Janie's case this leads to an inconclusive involvement with a young Jewish doctor who calls her "Monkey"; while Harriet assails the world of big business and has an affair with her hard-driving (and married) boss. Told in a fast-moving series of inventive, alternately hilarious and touchingly revealing scenes, the play explores their parallel stories with uncommon wit and wisdom-resulting, ultimately, in a heightened awareness which, while not providing all the answers, goes a long way toward achieving the maturity and self-assuredness that both protagonists so desperately desire.

    This adaptation offers readers the exquisite wordplay, beguiling comedy and fierce intelligence found in all of Kushner's work.The Illusion follows a contrite father, Pridamant, seeking news of his prodigal son from the sorcerer Alcandre. The magician conjures three episodes from the young man's life. Inexplicably, each scene finds the boy in a slightly different world: names change, allegiances shift and fairy-tale simplicity evolves into elegant tragedy. Pridamant watches, enthralled by the boy's struggles, but only as the strange tale reaches its conclusion does the father confront the ultimate-and unexpected-truth about his son. An enchanting argument for the power of theatrical imagination over reality, "The Illusion" weaves obsession and caprice, romance and murder, fact and fiction, into an enticing exploration of the greatest illusion of all-love.

    Set in 2008, the powerful crux of this new play is knowing the fate of the characters long before it's even in their sights.Based on Nottage's extensive research and interviews with real residents of Reading, Sweat is a topical reflection of the present and poignant outcome of America's economic decline.

    It is an inspired study in moral uncertainty with the compellingly certain structure of an old-fashioned detective drama. Even as Doubt holds your conscious attention as an intelligently measured debate play, it sends off stealth charges that go deeper emotionally. One of the year’s ten best.”—Ben Brantley, The New York Times“[The] #1 show of the year. How splendid it feels to be trusted with such passionate, exquisite ambiguity unlike anything we have seen from this prolific playwright so far. Blunt yet subtle, manipulative but full of empathy for all sides, the play is set in 1964 but could not be more timely. Doubt is a lean, potent drama . . . passionate, exquisite, important, and engrossing.”—Linda Winer, NewsdayChosen as the best play of the year by over 10 newspapers and magazines, Doubt is set in a Bronx Catholic school in 1964, where a strong-minded woman wrestles with conscience and uncertainty as she is faced with concerns about one of her male colleagues. This play by John Patrick Shanley—the Bronx-born-and-bred playwright and Academy Award-winning author of Moonstruck—dramatizes issues straight from today’s headlines within a world re-created with knowing detail and a judicious eye. After a stunning, sold-out production at Manhattan Theatre Club, the play has transferred to Broadway.John Patrick Shanley is the author of numerous plays, including Danny and the Deep Blue Sea, Dirty Story, Four Dogs and a Bone, Psychopathia Sexualis, Sailor’s Song, Savage in Limbo, and Where’s My Money?. He has written extensively for TV and film, and his credits include the teleplay for Live from Baghdad and screenplays for Congo, Alive, Five Corners, Joe Versus the Volcano (which he also directed), and Moonstruck, for which he won an Academy Award for original screenplay.

    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.

    R. Gurney has wittily captured the manners of upper-middle-class WASP America, but never as gracefully or with such dazzling economy as in Love Letters. Tracing the lifelong correspondence of the staid, dutiful lawyer Andrew Makepeace Ladd III and the lively, unstable artist Melissa Gardner, the story of their bittersweet relationship gradually unfolds from what is written--and what is left unsaid--in their letters. A smash hit both off and on Broadway, Love Letters captures Andy and Melissa with a precision of detail and depth of feeling that only Gurney can command. Two other, thematically related plays by Gurney, The Golden Age and What I Did Last Summer, are included, providing a trio of wry and affectionate paeans to love lost, found, and fleetingly glimpsed.

    The New York production featured knockout performances by Sarah Jessica Parker and Amy Sedaris. Ben Brantley, in the "New York Times" wrote "clearly, Mr. Lindsay-Abaire hasn't lost his playfully wicked eye, equally appalled and affectionate . . . his style both embraces and spoofs the All-American appetite for spiritual lift, sitcom perkiness, and slimy tabloid prurience." A firm believer in destiny-and inspired by a Marilyn Monroe movie-Cass leaves her husband and boards a bus to Niagara Falls, where she hopes to meet the unknown man she believes herself fated to end up with. Along the way toward the inevitable climax on the brink of the waterfall, she checks items off her list of "things to do in life," and takes the audience on an often moving, always hilarious journey.