A composer coming to terms with his genius. And, even though they're separated by 200 years, these two people share an obsession that might, even just for a moment, make time stand still. Drama, memory and music combine to transport you from present-day New York to nineteenth-century Austria in this extraordinary American play about passion, parenthood and the moments of beauty that can transform a life.

    Scrolls" Series is a SPECIAL EDITION, DIRECTOR'S CUT of 'JERUSALEM SCROLLS' from the Thoenes' popular "Zion Legacy Series"**The voices inside her whisper, Forgiveness?Yes, for them, but never for you.…The story of Mary Magdalene, in her own wordsAs the harsh Jerusalem winter of 1948 wears on Rachel Sachar, beautiful holocaust survivor, prays for some word from her husband Moshe who vanished in the secret tunnels beneath Jerusalem. Then one night a stranger named Eben Golah arrives with a message from Moshe and the translation of the ancient diary of Mary Magdalene. Like Rachel, Mary was a beautiful child. Everyone said so. Tragedy struck, everything changed in Mary’s family. Her dreams of love and children of her own abruptly ended. No amount of wealth or male companionship can bring Mary what she really longs for, nor can they stop the voices calling, “Finish it! You have no reason to live. No hope…” But might there be a second chance…even for someone like her? Secretly, she wonders…2,000 years separate the tragic stories of Mary Magdalene and Rachel Sachar, and yet their lives lead to Yeshua of Nazareth in Old Jerusalem. Will these women find freedom and forgiveness? Or will Yeshua cast the first stone? This is Mary’s story, from her own diary, as translated by Jewish Haganah fighter and scholar Moshe Sachar in 1948, as he prepares to emerge from his hiding place in the secret library under besieged Jerusalem.DISCOVER THETRUTHTHROUGHFICTION™BODIE & BROCK THOENE(pronounced Tay-nee) have written more than 60 works of historical fiction. Their novels have sold more than 20 million copies and have won eight ECPA Gold Medallion awards. The Thoenes divide their time between London and Nevada.

    But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fiancé, Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and needs help packing. Amanda balks and ends up (gently) hitting the postman, who happens to be her first boyfriend. They spend the night together in an apple orchard, where Amanda tries to tell Billy how her life got sidetracked. It has something to do with being a young woman in a profession that only recognizes famous men. Billy acts like he might have the answer, but doesn't. Neither does Amanda's mother. Or, for that matter, her father. A Feminine Ending is a gentle, bittersweet comedy about a girl who knows what she wants but not quite how to get it. Her parents are getting divorced, her fiancée is almost famous, her first love reappears, and there's a lot of noise in her head but none of it is music. Until the end. "Ending′ is a promising beginning...the playwright has a sense of humor that brings to mind a budding Wendy Wasserstein and a liberated sense of form that evokes a junior Paula Vogel."-Los Angeles Times "Darkly comic. FEMININE ENDING has undeniable wit." -New York Post. "Appealingly outlandish humor." -The New York Times. "Courageous. The 90-minute piece swerves with nerve and naivete. Sarah Treem has a voice all her own." -Newsday.

    The dialogue crackles with hilarious, caustic putdowns as the indomitable Maggie deals with her feckless family and unwanted suitors. Everyone wants a part of Big Maggie and her property but she has other ideas.

    MacLeod’s young protagonist enters all the bright open avenues of peer-group play and the dark blind alleys of individual and collective terror, as she discovers within herself both the capacity for and the conflict between impulses of good and evil. In thinking back on the history of her own tight-knit group of friends, she begins to see how in the excitement of belonging to a ritualized, secret collective, the self is created by the increasing dehumanization of the other—of both the bully and the victim. The Shape of a Girl goes far beyond a simple dramatization of the seemingly inexplicable code of silence and tacit complicity which surrounded the sensationalized Reena Virk murder in 1997 on which the play is based. It speaks eloquently and compassionately to a world increasingly dominated by all forms of collectivised and ritualized tribalist hatred, and offers the embrace of trust as the only way out of this circle of violence.Jewel is also based on a real-life catastrophe—the sinking of the Ocean Ranger, an oil rig off the coast of Newfoundland, on Valentine’s Day, 1982. Three years later, a widow, Marjorie Clifford, at home in her trailer in Fort St. John, British Columbia, begins to take the first step in understanding that the humanity of love, in all of its tentative frailty, uncertainty and promise, can free a life paralyzed and dominated by loss.

    Zarina has a bone to pick with the place of women in her Muslim faith, and she's been writing a book about the Prophet Muhammad that aims to set the record straight. When her traditional father and sister discover the manuscript, it threatens to tear her family apart. With humor and ferocity, Akhtar's incisive new drama about love, art, and religion examines the chasm between our traditions and our contemporary lives.

    It premiered in April 2000 at the Gielgud Theatre, Shaftesbury Avenue, London, starring Kathleen Turner as Mrs RobinsonCalifornia in the 60s. Benjamin's got excellent grades, very proud parents and, since he helped Mrs Robinson with her zipper, a fine future behind him… A cult novel, a classic film, a quintessential hit of the 60s, now Benjamin's disastrous sexual odyssey is brought vividly to life in this world stage premiere production."Terry Johnson is that rare creature: a moralist with wit. He writes with responsible gaiety" (Guardian)

    When the outside world comes calling, intent on manipulation for political and economic reasons, the islanders find their own world blown apart from the inside as well as beyond. Further Than The Furthest Thing is a beautifully drawn story evoking the sadness and beauty of a civilisation in crisis.Further Than The Furthest Thing premiered at the Traverse Theatre, Edinburgh in August, 2000.

    blu, steeped in poetic realism and contemporary politics, challenges us to try to imagine a time before war.Selected as the winner of the 2010 Yale Drama competition from more than 950 submissions, Virginia Grise's play blu takes place in the present but looks back on the not too distant past through a series of prayers, rituals, and dreams. Contest judge David Hare commented, "Virginia Grise is a blazingly talented writer, and her play blu stays with you a long time after you've read it." Noting that 2010 was a banner year for women playwrights, he added, "Women's writing for the theatre is stronger and more eloquent than it has ever been."

    Jody is in his forties and runs a map store. Not one for the outside world, he stays in his store all the time. His friend, Carl is in his late thirties and has been bringing chairs of dead friends into Jody's store and leaving them there. When Jody needs to take an AIDS test, Carl tries to convince him it is not only okay to leave the store, but also that he must take responsibility for his life. If he doesn't, he will join the set of chairs that Carl has taken great pains to place in the right spots around the store. Jody finally leaves the map store to take his HIV test and return to find Carl sitting in a chair of his own. With this gesture, we know that Carl has joined the many of their friends who have died, but now Jody must take Carl's place as the caretaker.

    Caring for her siblings and working long hours at Swift's Jam Factory in London’s Bermondsey is exhausting. Thankfully her lifelong friendship with Dot helps to smooth over life’s rough edges.When Elsie and Dot meet Millie Swift, they are nervous to be in the presence of the bosses’ daughter. Over time, they are surprised to feel so drawn to her, but should two East End girls be socializing in such circles?When disaster strikes, it binds the women in ways they could never imagine. Long-held secrets are revealed that could change all their lives...

    The place has always been his home and the Trading Post has been in his family for generations. Any type of gear that you might need for the outdoors and he’s your man. He’s a loner who towers over most people and who has always been more at peace outside by himself than around large groups of people. His life is running smoothly, his routine set, and then Hartley shows up in his town.Hartley Maverick is the new girl in town. She moved to Cunningham Falls to open her dream bakery. She’s had a love of baking and making sweet treats ever since her grams taught her how to make her first chocolate chip cookie. After Grams passed though, staying in Georgia just became too painful. So Hartley packed up their tiny apartment, threw a dart at the map, and started driving. She’s determined to get her bakery off the ground and make it a success. To make her grams proud of her.When an innocent mistake has the town and his parents thinking that these two are a couple, Elijah hatches a plan. Since they’re both agreed that neither of them wants a relationship, he’ll help Hartley fix up her bakery if she pretends to be his girlfriend while his parents are in town.Such a simple deal, what could possibly go wrong?The more time these two spend together, the more they realize that their pretend love just might be turning real. Will they be able to admit that they want more than just this façade?

    When she regains consciousness, her daughter is missing.As the police widen their futile search, Macy struggles to pick up the pieces of an unimaginable life. Urged to take a break she heads to an isolated cabin with a girlfriend to recuperate so she can continue searching, only to face her worse nightmare - times ten.Trapped by a man she believed dead, he demands she play a game. She runs, he hunts. There is no place to hide...

    The key witness is a woman whose life seems a world away from theirs. At home, their own lives begin to unravel as every version of the truth is challenged.Consent, Nina Raine’s powerful, painful, funny play, sifts the evidence from every side and puts Justice herself in the dock. It premiered as a co-production between the National Theatre and Out of Joint, directed by Roger Michell at the National Theatre in 2017.

    Thirty-five-year-old Felix Humble is a Cambridge astro-physicist in search of a unified field theory. Following the sudden death of his father, Felix returns to his middle England home and his difficult and demanding mother, where he soon realises that his search for unity must include his own chaotic home life.Humble Boy premiered at the Royal National Theatre, London, in August 2001, and transferred to the Gielgud Theatre, London, in 2002. The play was the winner of the Susan Smith Blackburn Award 2001, the Critics' Circle Best New Play Award 2002, and the People's Choice Best New Play Award 2002.