In a series of elegant, nonchronological scenes spanning the years from 1946 to 2015, the play hopscotches through Mary Page Marlowe’s quiet existence as an accountant from Ohio—complicating notions of what it means to lead a “simple life.”

    With a nod to his mentor, Harold Pinter, Mamet once again employs his signature verbal jousting in this battle of two women over freedom, power, money, religion—and the lack thereof. Broadway premiere, under the direction of the playwright, in fall 2012 starring Patti LuPone and Debra Winger.David Mamet is a playwright, director, author, essayist, screenwriter, and film director. His plays include Glengarry Glen Ross, Speed-the-Plow, American Buffalo, A Life in the Theatre, Oleanna, The Cryptogram, and Race.

    The first scene of the play is a conversation between two lovers, Tommy and Donna, who broke up some time earlier but who are obviously still attracted to each other. Donna is enraged because Tommy, a would-be artist, is now having an affair with her younger sister, but Tommy, stretched out on his recliner (which, apart from a refrigerator full of beer, comprises the entire furnishings of his spartan apartment), is seemingly unmoved by her harangue. In the second scene Donna visits her father, a once successful artist who stopped painting at the death of his wife, whom he had bullied and betrayed despite his professed love for her. Combative and complex (but also very funny) the father sits and drinks and eventually gives in to his daughter's demand that he force Tommy to marry her or beat him up. Then, in the third and final scene, the father and Tommy confront each other, with results that are sometimes menacing, sometimes antic, with a lively discussion about art and women eventually leading to a sort of tenuous truce—and a grudging recognition of the responsibility that love, in its various guises, imposes.

    She was the leader of the Syndicate, a criminal enterprise that had a stronghold on the underworld. Much to her children's chagrin, it was up to one of them to step up and take the lead. Javon, her oldest and most trusted son, took on that mantle. It was a role he had never wanted, but with threats to his family coming from every direction, he had no choice.One year later, Javon has taken the Syndicate to the next level. Javon seems untouchable, and the Syndicate can't be stopped, but as it grows, it draws attention. This time, it's from the Commission, the ruling body of the world's most dangerous mafias."You scratch my back and I'll scratch yours" comes into play as the Old Italian needs Javon's help. The Commission has been threatened, and they call on the Syndicate for reinforcements. The Syndicate aims to help its allies, but the past comes knocking at the McPhearsons' door. With everything coming full circle, Javon will find that not everyone can be trusted, and ghosts from the past always have a way of coming back to haunt you.

    She's just 17, hates her parents, skives college and prefers life in the chatrooms. What she's looking for is someone honest and direct. Instead she finds Tim, a man twice her age, who thinks she is 11 and a boy.What seems at first to be a case of crossed wires, ends up as an unlikely, and unsettling friendship between the two, which culminates in a shocking, and morally challenging revelation.

    "The two rooms of the title are a windowless cubicle in Beirut where an American hostage is being held by Arab terrorists and a room in his home in the United States which his wife has stripped of furniture so that, at least symbolically, she can share his ordeal."Two Rooms received its world premiere at the La Jolla Playhouse in California on June 21, 1988. The cast is two men and two women.

    The topics include feminism and the role of women in the drama, the American Dream, business and capitalism, the significance of technology, the legacy that Willy leaves to Biff, and Miller's use of symbolism. The authors of the essays include prominent Arthur Miller scholars such as Terry Otten and the late Steven Centola as well as young, emerging scholars. Some of the essays, particularly the ones written by the emerging scholars, tend to employ literary theory while the ones by the established scholars tend to illustrate the strengths of traditional criticism by interpreting the text closely. It is fascinating to see how scholars at different stages of their academic careers approach a given topic from distinct perspectives and sometimes diverse methodologies. The essays offer insightful and provocative readings of Death of a Salesman in a collection that will prove quite useful to scholars and students of Miller's most famous play.

    TRY THIS BESTSELLING THRILLER FOR A SPECIAL PRICE. Conspiracy thrillers don’t come bigger or better than THE KEY – from the author of the bestselling thriller debut of 2011, SANCTUS.Please note that the map in this ebook is best displayed on tablet devicesPage extent: 50 pagesTHE FATE OF MAN IS IN THE HANDS OF ONE WOMANIn the historic Turkish city of Ruin, American journalist Liv Adamsen wakes up in an isolation ward. She knows she entered Ruin’s forbidden ancient Citadel, but remembers only darkness.A strange whisper within says she is `the key': but to what?For the desperate fanatics inside the Citadel, only her return can secure their survival. Charity worker Gabriel Mann, meanwhile, believes Liv could unlock mankind’s most profound mystery.And for a powerful global faction, Liv’s silence – at any cost – is all that matters. Hunted across continents, Gabriel and Liv approach an explosive discovery – one that will tear them apart and change the world forever…

    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.

    Searching Manchester in desperation, she finds all roads lead to Pomona - an abandoned concrete island at the heart of the city.Here at the centre of everything, journeys end and nightmares are born.A sinister and surreal thriller from Alistair McDowall, Pomona received its world premiere at the Orange Tree Theatre, London, on 12 November 2014.

    The game setting? A subdivision with identical houses. The goal? Smash through an army of zombies to escape the neighborhood for good. But as the line blurs between virtual and reality, both parents and players realize that fear has a life of its own. "Playing like a nifty episode of 'The Twilight Zone', the story builds to an affectingly grues

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    is a series of women's monologues tackling many different aspects of the complex female psyche.

    The All-Girl Filling Station's Last Reunion compares the contrasting worlds of present-day Southern life and Midwestern immigrant cities during World War II. After learning that she was adopted, Sookie is filled with questions of self-doubt and becomes determined to learn the truth behind her roots. Fannie Flagg depicts adventurous and courageous women as WASPs during WWII as she tells the story of the Jurdabralinski sisters. These roles contradict Sookie's upbringing in Alabama where society is ruled by social norms and status. The All-Girl Filling Station's Last Reunion offers an inspirational tale with accurate historical details that are presented through an engaging plot. This review of Flagg's novel gives you a broader view of the author and her writing style. Read quotes from literary critics to discover the book's appeal, or lack thereof. Sookie counters a cast of larger-than-life characters as she finds adventure and realizes her underlying identity. The All-Girl Filling Station's Last Reunion captures a journey of self-discovery mixed with realism and humor to delight all readers.

    Book by McLure, James