Amy is curled up on the locker room floor. DRY LAND is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.

    Changing styles in feminist thought, the tangled connections between creativity and ideology, the writer’s odd place in our money-centered world, the way we turn our friends into surrogate families—while always fluid and lively, the play is thick with ideas, like a stockpot of good stew.” –Michael Feingold, Village Voice“Beautifully layered. Margulies delivers a spot-on glimpse of New York's literary scene: the power of a Times book review, or the milestone of the 92nd Y's authors series, or the significance of a little-known but much-revered lit mag like the now-defunct Grand Street. He's even better at teasing the sense of betrayal that can dissolve creative friendships…the ethics of friendship and fiction smack into each other.” –Lisa Kennedy, Denver Post“[Collected Stories] digs into its engaging tale of aesthetics and ethics with intelligence and sharp, literate humor….Mr. Margulies has found fertile material in the struggles of the creative classes to reconcile the demands of ambition with the exigencies of life.” –New York Times“This provocative piece of theater serves as a timely reminder that we are defined by our feelings and memories — and such precious thoughts are sacred.” –Matthew J. Palm, Orlando SentinelCollected Stories explores the vexed emotional and legal question of a writer's right to create art from the biographical material of another person's life-particularly when that other person is also a writer. Meditating upon the recent, real-life conflict between poet Stephen Spender and novelist David Leavitt, Margulies has created two of the most vivid and moving fictional characters of his career: Ruth Steiner, an aging, highly regarded author who never wrote about her youthful affair with real-life poet Delmore Schwartz, and Lisa Morrison, a student of Steiner's who, after publishing a much-ballyhooed first short-story collection under Steiner's direction, follows up with a novel that draws upon the Schwartz affair. The result is charged drama with the depth and weight of the finest prose fiction. Winner of the Los Angeles Drama Critics Award for Best New Play.Donald Margulies received the 2000 Pulitzer Prize for Drama for Dinner with Friends. The play received numerous awards, including the American Theatre Critics Association New Play Award, the Dramatists Guild/Hull-Warriner Award, the Lucille Lortel Award, the Outer Critics Circle Award and a Drama Desk nomination, and has been produced all over the United States and around the world. In addition to his adaptation of God of Vengeance, his many plays include Collected Stories, The Country House, Sight Unseen, The Model Apartment, The Loman Family Picnic, What’s Wrong with This Picture? and Time Stands Still. Mr. Margulies currently lives with his wife and their son in New Haven, Connecticut, where he teaches playwriting at Yale University.

    Through a series of mind games and manipulations, they call into question both couples' sense of reality and fiction, joy and sorrow.

    Alternating between their New York City apartment and a smoke-filled music club, Clifford narrates the story of his broken family and the decline of jazz as popular entertainment. Clifford recalls the key moments in his life, such as the day when he, fresh out of college, picked up his first unemployment check and was congratulated by Gene and his band mates. Gene's music career on the big band circuit ultimately crumbles with the advent of Elvis and rock-n-roll. Terry begs him to get a nine-to-five job to support the family, but Gene refuses to enter the "straight world" of regular paychecks, mortgages and security. For Gene, who knows jazz better than his own son, music is not just a job; it's his life. Their marriage slowly dissolves and young Clifford is witness to it all. As things worsen, Clifford assumes the role of parent and throws the hopeless Gene out of his mother's apartment. When an adult Clifford visits Gene in a rundown jazz club after years of separation, he requests that the old man play his mother's favorite song, the old standard "Why was I Born?" Clifford then asks, "Dad, why was I born?" It becomes Clifford's last, heart-breaking plea for his father's love.

    By one of America's most talented playwrights, this play won the Dramatists Guild's prestigious Hull-Warriner Award, four Tony nominations, the Susan Smith Blackburn Prize, and the Pulitzer Prize in 1983. 'night, Mother had its world premiere at the American Repertory Theater in Cambridge, Massachusetts, in December 1982. It opened on Broadway in March 1983, directed by Tom Moore and starring Anne Pitoniak and Kathy Bates; a film, starring Anne Bancroft and Sissy Spacek, was released in 1986.

    Men are exfoliating. It's all jumbled: you can't read the signs.Can any woman have it all? After university Catherine and Gwen chose opposite paths: Catherine built a career as a rock-star academic, while Gwen built a home with a husband and children. Decades later, unfulfilled in opposite ways, each woman covets the other's life, and a dangerous game begins as each tries to claim the other's territory. Sparks fly and the age-old question arises: what do women really want?Gina Gionfriddo dissects modern gender politics in this breathtakingly witty and virtuosic comedy, set in a small New England college town. Traversing the experiences of women across the generations, this play is a hugely entertaining exploration of a new style of feminism, ripe for the twenty-first century.Rapture, Blister, Burn was commissioned by Playwrights Horizons, where it premiered, with funds from the Harold and Mim Steinberg Charitable Trust. It received its UK premiere at the Hampstead Theatre, London, in January 2014.

    Gradually distancing herself from her friends, she watches them move from the idealism and political radicalism of their college years through militant feminism and, eventually, back to the materialism that they had sought to reject in the first place. Heidi's own path to maturity involves an affair with the glib, arrogant Scoop Rosenbaum, a womanizing lawyer/publisher who eventually marries for money and position; a deeper but even more troubling relationship with a charming, witty young pediatrician, Peter Patrone, who turns out to be gay; and increasingly disturbing contacts with the other women, now much changed, who were a part of her childhood and college years. Eventually Heidi comes to accept the fact that liberation can be achieved only if one is true to oneself, with goals that come out of need rather than circumstance. As the play ends she is still "alone," but having adopted an orphaned baby, it is clear that she has begun to find a sense of fulfillment and continuity that may well continue to elude the others of her anxious, self-centered generation.

    But something more “global” appears to be at work, and in any case he is distracted from his dreary rounds of diagnosis-seeking when a more urgent tragedy befalls the family. Joseph’s father, a former steelworker, was driving home from his new maintenance job when he swerved to avoid a deer and crashed his car, landing in the hospital. A week later he died of a heart attack.The deer, it turns out, was a stuffed decoy placed there by a high school student as a prank. This enrages Joseph’s older and ailing uncle, Bill (Yusef Bulos), who is even more disgusted when it is learned that the culprit is the star of the local football team, Vin (Jonathan Louis Dent), a town hero who is given a dispensation by a judge to serve his sentence in juvenile detention after the football season has concluded. Joseph and his younger brother, Charles (Chris Perfetti) — who are both gay — are more sympathetic to Vin, an African-American boy who has grown up in a foster home, and whose chance at a professional career may be jeopardized.Gloria (Joanna Gleason), Joseph’s new boss and a book packaging expert, knows a little about career jeopardy herself. She was run out of the publishing business — and Manhattan — when she sold a memoir by a Holocaust survivor that turned out to be fictionalized. (Gloria’s story and Vin’s are inspired by actual events.)Now she latches on to the discovery that Joseph’s family, of Lebanese extraction, is distantly related to Kahlil Gibran, author of the perennial best-selling spiritual book “The Prophet.” In her hilariously addled mind — complaining about her fall from grace, she defensively remarks, “I wasn’t at the Holocaust” — she decides that a memoir by Joseph about his family’s journey will be her ticket back to the big time.Mr. Karam’s play, which runs a little less than two hours and is performed in one seamless act , may sound top-heavy with plot and character. (Did I mention that Gloria’s emotional frailty also stems from the suicide of her husband?) Some of the relationships would benefit from being fleshed out in greater detail: the integration of Gloria into the lives of Joseph and his family, for example. The play’s climax shoehorns all the elements of the story into a farcical scene that seems a little forced, funny though it is.But one of Mr. Karam’s themes is the indiscriminate nature of misfortune — one calamity does not immunize you from the next, worse one — so the multiplication of disasters roiling the characters’ lives is to the point. And he writes with such precision that even the more peripheral characters emerge as sharply drawn, multifaceted individuals.

    Frank Rich in "The New York Times" wrote about "Prelude," "It is rare to find a play so suffused with sorrow that sends one home so high." Also included are "Missing Persons," "a truly intelligent play, one that is literary and heartfelt, beautifully written...a well-crafted, moving story, a dramatic rarity in these or any times "("New York Post"), and "Three Postcards," an offbeat and uniquely imaginative free form musical play. Craig Lucas is also the author of "Reckless and Blue Window" and "What I Mean Was." He lives in Putnam Valley, New York.

    It is an inspired study in moral uncertainty with the compellingly certain structure of an old-fashioned detective drama. Even as Doubt holds your conscious attention as an intelligently measured debate play, it sends off stealth charges that go deeper emotionally. One of the year’s ten best.”—Ben Brantley, The New York Times“[The] #1 show of the year. How splendid it feels to be trusted with such passionate, exquisite ambiguity unlike anything we have seen from this prolific playwright so far. Blunt yet subtle, manipulative but full of empathy for all sides, the play is set in 1964 but could not be more timely. Doubt is a lean, potent drama . . . passionate, exquisite, important, and engrossing.”—Linda Winer, NewsdayChosen as the best play of the year by over 10 newspapers and magazines, Doubt is set in a Bronx Catholic school in 1964, where a strong-minded woman wrestles with conscience and uncertainty as she is faced with concerns about one of her male colleagues. This play by John Patrick Shanley—the Bronx-born-and-bred playwright and Academy Award-winning author of Moonstruck—dramatizes issues straight from today’s headlines within a world re-created with knowing detail and a judicious eye. After a stunning, sold-out production at Manhattan Theatre Club, the play has transferred to Broadway.John Patrick Shanley is the author of numerous plays, including Danny and the Deep Blue Sea, Dirty Story, Four Dogs and a Bone, Psychopathia Sexualis, Sailor’s Song, Savage in Limbo, and Where’s My Money?. He has written extensively for TV and film, and his credits include the teleplay for Live from Baghdad and screenplays for Congo, Alive, Five Corners, Joe Versus the Volcano (which he also directed), and Moonstruck, for which he won an Academy Award for original screenplay.

    When Amir and his wife Emily (Heidi Armbruster), a white artist influenced by Islamic imagery, host a dinner party, what starts out as a friendly conversation escalates into something far more damaging.

    Book annotation not available for this title.

    The play tells the story of Lincoln and Booth, two brothers whose names were given to them as a joke, foretelling a lifetime of sibling rivalry and resentment. Haunted by the past, the brothers are forced to confront the shattering reality of their future.

    Book by McLure, James

    Clybourne Park is a beautifully structured drama by Bruce Norris that unmasks racial bigotry when a white couple sells their home to a black family.