This is where they send the new, the under-qualified, the old. And most of all the British. Mars is full of blonde Americans. It's like they're building the master race out there.Billions of miles from home, the lone research base on Pluto has lost contact with Earth. Unable to leave or send for help, the skeleton crew sit waiting.Waiting.Waiting long enough for time to start eating away at them.To lose all sense of it.To start seeing things in the dark outside.Alistair McDowall's play X premiered at the Royal Court on 30 March 2016 in the Jerwood Theatre Downstairs.

    The evening consisted of six Durang one act plays. It was directed by Walter Bobbie; set was by Derek McLane, costume by David C. Woolard, lighting by Brian Nason, sound design by Tony Meola; production stage manager was Perry Cline, stage manager was Greg Fletcher. Durang/Durang is an evening of six one acts. It is thus not a full length play, but it is a full evening.

    It broke all historic records for plays of any kind, with an original London run of 1,466 performances.The play was first performed at the Theatre Royal, Bury St Edmunds in February 1892.

    Queen Elizabeth II is dead. After a lifetime of waiting, her son ascends the throne. A future of power. But how to rule? Drawing on the style and structure of a Shakespearean history play, King Charles III opened at London’s Almeida Theatre, directed by its Artistic Director Rupert Goold, in 2014, before transferring to the West End.

    Matt Friedman, an accountant from St. Louis, has arrived to plead his love to Sally Talley, the susceptible, but uncertain daughter of the family. Bookish, erudite, totally honest and delightfully funny, Matt refuses to accept Sally's rebuffs and her fears that her family would never approve of their marriage. Charming and indomitable, he gradually overcomes her defenses, telling his innermost secrets to his loved one and, in return, learning hers as well. Gradually he awakens Sally to the possibilities of a life together until, in the final, touching moments of the play, it is clear that they are two kindred spirits who have truly found each other two "lame ducks" who, in their union, will find a wholeness rare in human relationships.

    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."

    So the impresario's diminutive assistant blacks up and goes on as Otello. The tenor awakens, dons his costume, and thence follows a hilarious comedy involving two Otellos, a volatile Italian wife, an outrageous bellhop and a cynical impresario.

    Jacobs Theater, New York City, in March 2009.

    Take in the atmosphere of the Great White Way in its heyday at a little speakeasy called Good Time Charley's. Here are thirty-two of Damon Runyon's best-loved, most "Runyonesque" stories, each woven around the mobsmen, chorus girls, gamblers, and racetrack hustlers of the Broadway he knew and loved. Runyon captures with an acute eye and ear the colorful lives and language of a bygone era, one that lives on in our imagination—and on stage.

    Christopher Hampton has made a masterful adaptation for the stage of the conspiracy to corrupt a young girl barely out of her convent.

    Among her assignments was the sensational murder involving Ruth Snyder, who with her lover, Judd Gray, had murdered her husband and gone to the electric chair. Out of this came MACHINAL, a powerful expressionist drama about the dependent status of women and the living hell of a loveless marriage. Successfully premiered on Broadway in 1928 with Clark Gable as the lover, the play was seen in London two years later, provoked a sensation in Tairov's version in Moscow in 1933, and was then largely forgotten until revivals in New York and London in the 1990s.

    He is also an accomplished screenwriter who has in the past few years turned his hand to writing plays. The results, collected here, hilariously explore serious questions of love, happiness and the meaning of life; they are rich with equal parts of pain and slapstick humour, torment and wit.

    This engaging and beautiful book includes the complete Academy Award-winning script and Thompson's own diaries detailing the production of the film, reviewed by Stanley Kauffmann in The New Republic as "vivid, funny, and gamy"

    The title character, here called Pippin, is a naive, inexperienced young man looking to make his mark in the world. He seeks glory and personal fulfillment first as a soldier, then as a lover, and finally as a revolutionary leader promoting progressive social ideas. After every attempt at success has left him disappointed and frustrated, until he is on the brink of utter despair, Pippin finds himself attracted to the widow Catherine and her young son. Ultimately, he is given a choice between either performing a single great deed that will bring him instant fame and glory but just as instantly cut short his young life, or settling for a long, comfortable, but mediocre existence as a domestic non-entity taking care of his sweet but completely unremarkable family.

    Romantically attached, they continue to exchange letters through the boarding school and college years—where Andy goes on to excel at Yale and law school, while Melissa flunks out of a series of "good schools." While Andy is off at war Melissa marries, but her attachment to Andy remains strong and she continues to keep in touch as he marries, becomes a successful attorney, gets involved in politics and, eventually, is elected to the U.S. Senate. Meanwhile, her marriage in tatters, Melissa dabbles in art and gigolos, drinks more than she should, and becomes estranged from her children. Eventually she and Andy do become involved in a brief affair, but it is really too late for both of them. However Andy's last letter, written to her mother after Melissa's untimely death, makes it eloquently clear how much they really meant, and gave to, each other over the years—physically apart, perhaps, but spiritually as close as only true lovers can be.