Roy demands Cosi Fan Tutte. An affectionate look at madness and mayhem (2 acts, 5 men, 3 women).

    This revised and updated edition includes new information on three key events in Aboriginal-European relations which have come to light since publication of the first edition, and gives an overview of the Stolen Generation report.

    His work is inventive, disciplined and, at the same time, wild and evocative. His ear is splendid and his mind is agile.”—Edward Albee“An original, a maverick wordsmith whose weird, wry dramas gurgle with the grim humor and pain of life. Eno specializes in the connections of the unconnected, the apologetic murmurings of the disengaged.”—GuardianWinner of the 2004 Oppenheimer Award for best New York debut by an American playwright, The Flu Season is a reluctant love story, in spite of itself. Set in a hospital and a theater, it is a play that revels in ambivalence and derives a flailing energy from its doubts whether a love story is ever really a love story.Will Eno has been called “a Samuel Beckett for the Jon Stewart generation” (New York Times)—he is a playwright with an extraordinary voice and a singular theatrical vision. Also included in this volume are Tragedy: A Tragedy and Intermission.Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include Oh, the Humanity and other good intentions, The Flu Season, Tragedy: a tragedy, and Intermission.

    Each character in the house represents some facet of British society, Mangan being the nouveau riche capitalist, Hesione the flighty Bohemian, Ellie a struggling member of the lower class and so on.One of Shaw's most important and evident themes is reality versus appearances. By the end of the play, each character is revealed to be nothing like who they appeared to be in the beginning. Mangan, who was reported to be "a Napolean of industry" is revealed in the third act to be virtually penniless and incapable of running his own businesses. It is in fact Mazzini who runs Mangan's businesses although he at first appears mild and incompetent.

    This story is brutal and shockingly unpredictable. In the year 1823, at the height of the British Empire and the colonization of Australia, Pat Roche sits on board a convict ship, sentenced for the term of his natural life to the New Colonies. All hope of ever seeing his wife and child again appeared to be lost. The ship is a fraught with tension under such a strict military guard; with one hundred and fifty criminals confined to a small space, it can only mean trouble. By the time the ship arrives at Van Dieman’s Land, there will be fighting, flogging, rape, murder and mutiny. Pat Roche will find himself involved in it all. Sarah Roche has now been shunned by the local community and is struggling to fend for herself and her little boy. There is a terrible turn of events and she is soon to follow in her husband’s footsteps. So too will a desperate voyage begin for her on board the female convict ship, otherwise known as ‘Floating Brothels’. She arrives in Hobart a broken woman, only regaining her strength after a fleeting moment with her husband. Pat is being taken away to a place of unbearable torment; the notorious Sarah Island settlement, where escape is punishable by death. Many colourful characters weave their way through the pages, creating a plot intertwined with deceit, retribution, murder, tragedy and enduring love, resulting in a heart wrenching climax.For Pat Roche, when there is nothing more worth living for, a chance to escape and find his family is worth dying for.

    It is the summer of '82 as Sally Thomas prepares to leave her job at the British Drama League in London and head off to the North of England for her very first season in repertory as an Assistant Stage Manager at the beautiful old theatre in Crewe. Flung into this new world, Sally soon finds her feet, thanks to her own steady, unspoilt nature and to the company of her best friend, Jeremy. One of the first lessons she learns is that the other actors barely need tuition in the art of stage-fighting, since they are quite adept at stabbing each other in the back. When Jeremy falls suddenly and dangerously in love, Sally needs to grow up - fast. A shadow is falling over the theatre, sparing no one, and a tragedy is gathering pace in the darkness behind the stage. The Boy I Loveis a superb evocation of theatre and real life that will stay with you long after you've read it. Be warned: it may just break your heart.

    As the hours tick by, the girls know the chance of Yin being found alive is becoming smaller and smaller.Police suspect the abduction is the work of a serial offender, with none in the community safe from suspicion. Everyone is affected by Yin’s disappearance—even scholarship student Chloe, who usually stays out of Balmoral drama, is drawn into the maelstrom. And when she begins to form an uneasy alliance with the queen of Year Ten, Natalia, things get even more complicated.Looking over their shoulders at every turn, Chloe and Natalia must come together to cope with their fear and grief as best they can. A tribute to friendship in all its guises, The Gaps is a moving examination of vulnerability and strength, safety and danger, and the particular uncertainty of being a young woman in the world.

    The story of two white-collar managers, Chad and Howard, who maliciously plot to jointly romance the lonely, deaf, beautiful office temp Christine before simultaneously dumping her, is cool and compelling in its depiction of the worst sorts of emotional abuse. What begins as a cat-and-mouse game of one-upmanship quickly escalates into full-scale psychological warfare. Only too late does this 'frat boy' prank reveal itself as deadly serious, with a struggle between the two men at the heart of the battle. The woman is only a means to an end, a pawn easily captured and tossed aside in a dark, wicked duel for corporate ascension.

    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 play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    HARD LUCK. HARD DRUGS. HARD DEALS. HARD TIME. Back in New York City, Seven was the seventh child. But here in Charlotte he's number one on every ladies' list. Even behind bars, he managed to sex a female corrections officer, who lost her job and found herself pregnant. Now Seven is out of the pen and back on the streets. A small-time dealer with big-time dreams, he's ready to take care of business -- for his baby, his baby's mother, his slammin' girlfriend, and his empty wallet. But first, he's got to play the game with the biggest pushers in town. He'll be a soldier for The Man. Then he'll rob the suckers blind before they figure out what's going down. Sure, it could get him killed. But Seven knows there are things in life worth living for -- and things worth dying for. And sometimes you can't tell the difference.

    Another seeks a lost sister in a park where winter lasts forever. A young man fulfils a dying wish. A mother works magic to summon a true princess for her son. A man seeks an ending to his story. An old man goes in search of his shadow.This is a world of desire and transformation, the real and the not real, from the queen of modern fantasy.

    While his friends were out getting laid and stoned, he was tucked up at home dreaming of his name in lights, of holding an audience rapt, of perhaps becoming a TV heart-throb, or having someone, anyone, ask for his autograph in the supermarket. This is the true story of an obsessive pursuit of acting fame. It is a life marked by occasional hard-fought successes and routine helpings of ritual humiliation: scout hut Gilbert and Sullivan, dodgy rock operas, sewage farm theatre workshop, Christmas panto hell, straight-to-video film flops, leading roles in Crimewatch reconstructions and dressing up as a chicken to advertise TV dinners. It is a hilarious tale of turgid theatre, tights, trusses and tonsil tennis with Timothy Spall.

    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.

    Born in 1951, he had a happy childhood — raised by his loving adoptive parents, Bert and Gwen Tickner, in the small seaside town of Forster, New South Wales. He grew up to be a cheerful and confident young man with a fierce sense of social justice, and the desire and stamina to make political change. Serving in the Hawke and Keating governments, he held the portfolio of minister for Aboriginal and Torres Strait Islander affairs. Among other achievements while in government, he was responsible for initiating the reconciliation process with Indigenous Australians, and he was instrumental in instigating the national inquiry into the stolen generations.During his time on the front bench, Robert’s son was born, and it was his deep sense of connection to this child that moved him at last to turn his attention to the question of his own birth. Although he had some sense of the potentially life-changing course that lay ahead of him, he could not have anticipated learning of the exceptional nature of the woman who had brought him into the world, the deep scars that his forced adoption had left on her, and the astonishing series of coincidences that had already linked their lives. And this was only the first half of a story that was to lead to a reunion with his birth father and siblings.This deeply moving memoir is a testament to the significance of all forms of family in shaping us — and to the potential for love to heal great harm.