Bedroom Farce A Comedy In Two Acts

Alan Ayckbourn - 1978


Sarah Kane - 1998
    Kane's first play Blasted caused major controversy, furore and acclaim amongst critics and throughout the theatre world

Look Back in Anger

John Osborne - 1957
    He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes himself. Yet this working-class Hamlet, the original Angry Young Man, is one of the most mesmerizing characters ever to burst onto a stage, a malevolently vital, volcanically articulate internal exile in the dreary, dreaming Siberia of postwar England.First produced in 1956, Look Back in Anger launched a revolution in the English theater. Savagely, sadly, and always impolitely, it compels readers and audiences to acknowledge the hidden currents of rottenness and rage in what used to be called "the good life."

The Kitchen; A Play In Two Parts, With An Interlude

Arnold Wesker - 1957

The Heidi Chronicles: Uncommon Women and Others & Isn't It Romantic

Wendy Wasserstein - 1988
    Two young women besieged by the demands of mothers, lovers, and careers—not to mention a highly persistent telephone answering machine—as they struggle to have it all. A brilliant feminist art historian trying to keep her bearings and her sense of humor on the elevator ride from the radical sixties to the heartless eighties.Wendy Wasserstein's characters are so funny, so many-sided, and so real that we seem to know them from their Scene One entrances, though the places they go are invariably surprising. And these three plays—Uncommon Women and Others, Isn't It Romantic, and the Pulitzer Prize-winning The Heidi Chronicles—manage to engage us heart, mind, and soul on such a deep and lasting level that they are already recognized as classics of the modern theater.

Top Girls

Caryl Churchill - 1982
    Told by an eclectic group of historical and modern characters in a continuous conversation across ages and generations, Top Girls was hailed as 'the best British play ever from a woman dramatist' by The Guardian.

The Ride Down Mt. Morgan

Arthur Miller - 1991
    Morgan puts poet and insurance tycoon Lyman Felt in the hospital. While Lyman recovers, two women meet in the hospital to discover that they are both married to him. With his secrets exposed, Lyman tries to justify himself to the two women--the prim, cultured Theo and the restless, ambitious Leah--at the same time hoping to convince himself that he is blameless. Moving between broad farce and delicate tragedy, The Ride Down Mt. Morgan reveals the struggle between honesty with others and honesty with oneself. This new edition incorporates the revisions Miller wrote for the acclaimed 1998 Public Theatre production starring Patrick Stewart.

Entertaining Mr. Sloane

Joe Orton - 1965
    Despite its success in performance, and being hailed by Sir Terence Rattigan as 'the best first play' he'd seen in 'thirty odd years', it was not until the London production of Loot in 1966 - less than a year before Joe Orton's untimely death - that theatre audiences and critics began to more fully appreciate the originality of Orton's elegant, alarming and hilarious writing. Introduced by John Lahr, the author of Orton's biography Prick up Your Ears, Entertaining Mr Sloane is now established as an essential part of the repertoire of the modern theatre.

En la ardiente oscuridad

Antonio Buero Vallejo - 1950
    Accordingly, the play must be understood as a sketch of the tragedy of man and his destiny, a problem which again is acquiring legitimacy and urgency, outstepping from the serious Spanish theatre studies into the surrounding reality. Two aspects are set down as intentionally dominant within the plan of Buero Vallejo's work. One is the social relationship, a mixture of free and forced situations, which arestablished between a strong individuality whose reasoning and frustration conflict with the reasoning and passion of the community. The other involves the tension of the visionary, the yearning for "light" and the belief in it which occasionally distinguishes the people of genuine religious feelings facing the material interests of the majority.

The Judas Kiss: A Play

David Hare - 1998
    Portraying the two critical moments in Oscar Wilde’s late life –– when he decides to stay in England and face imprisonment and the night after his release, two years later –– David Hare’s The Judas Kiss presents the consequences of taking an uncompromisingly moral position in a world defined by fear, expedience, and conformity.


Peter Handke - 1967
    Drilled by prompters who use terrifyingly funny logical and alogical language-sequences, Kaspar learns to speak "normally" and eventually becomes creative--"doing his own thing" with words; for this he is destroyed.In Offending the Audience and Self-Accusation, one-character "speak-ins," Handke further explores the relationship between public performance and personal identity, forcing us to reconsider our sense of who we are and what we know.

John Bull's Other Island

George Bernard Shaw - 1904
    His partner, Tom Broadbent, has romantic notions of the Emerald Isle and is eager to come along. Broadbent cuts a swathe through the small town, charming nearly everyone he meets including Doyle s sweetheart. John Bull's Other Island was first produced in 1904, and is the sole play by Shaw to be set in his homeland of Ireland. Shaw s incisive humor shines throughout, making this a most satisfying read.

Doctor Faustus and Other Plays

Christopher Marlowe
    This edition offers his five major plays, which show the radicalism and vitality of his writing in the few years before his violent death. Tamburlaine Part One and Part Two deal with the rise to world prominence of the great Scythian shepherd-robber; The Jew of Malta is a drama of villainy and revenge; Edward II was to influence Shakespeare's Richard II. Doctor Faustus, perhaps the first drama taken from the medieval legend of a man who sells his soul to the devil, is here in both its A- and its B- text, showing the enormous and fascinating differences between the two. Under the General Editorship of Dr. Michael Cordner of the University of York, the texts of the plays have been newly edited and are presented with modernized spelling and punctuation. In addition, there is a scholarly introduction and detailed annotation.


William Inge - 1953
    The one house belongs to Flo Owens, who lives there with her two maturing daughters, Madge and Millie, and a boarder who is a spinster school teacher. The other house belongs to Helen Potts, who lives with her elderly and invalid mother. Into this female atmosphere comes a young man named Hal Carter, whose animal vitality seriously upsets the entire group. Hal is a most interesting character, a child of parents who ignored him, self-conscious of his failings and his position behind the eight ball. Flo is sensitively wary of temptations for her daughters. Madge, bored with being only a beauty, sacrifices her chances for a wealthy marriage for the excitement Hal promises. Her sister, Millie, finds her balance for the first time through the stranger's brief attention. And the spinster is stirred to make an issue out of the dangling courtship that has brightened her life in a dreary, minor way.

Dangerous Corner

J.B. Priestley - 1932
    Young, beautiful and successful, they have the world at their feet. Then a cigarette box and an ill-considered remark spark off a relentless series of revelations and other more dangerous secrets are painfully exposed. Priestley wrote this play to prove that a novelist could write an effective play using the strict economy of the stage. It was first produced at the Lyric Theatre in May 1932, with Flora Robson in the role of Olwen Peel, Richard Bird as Robert Caplan and Marie Ney as Freda Caplan. In his biography of Priestley, Vincent Brome wrote of Dangerous Corner: "Directed by Tyrone Guthrie, it ran for just five performances, then the backers withdrew their support. Priestley took a cold hard look at the situation, made some swift calculations with his agent A.D. Peters, and plunged in daringly to rescue it. He was by now a relatively rich man and he drew on the accumulatuion of royalties to keep the play running at a loss. In the end his audacity paid off. The destructive notices in the daily press were followed by favourable reviews by Ivor Brown in the Observer and James Agate in the Sunday Times. It became one of the most popular plays Priestley ever wrote."