It has been produced and taught all over the world. Its companion play, The Destiny of Me, is the stirring story of an AIDS activist forced to put his life in the hands of the very doctor he has been denouncing.

    An incendiary tale of race, madness and a Darwinian power struggle at the heart of a dying National Health Service, Blue/Orange premiered at London's Cottesloe Theatre in April 2000 and transferred to the West End in 2001.

    In Medea, a woman rejected by her lover takes hideous revenge by murdering the children they both love, and Hecabe depicts the former queen of Troy, driven mad by the prospect of her daughter's sacrifice to Achilles. Electra portrays a young woman planning to avenge the brutal death of her father at the hands of her mother, while in Heracles the hero seeks vengeance against the evil king who has caused bloodshed in his family.Translated with an Introduction by PHILIP VELLACOTT

    Grace, a Native girl adopted by a White family, is asked by her birth sister to return to the Reserve for their mother’s funeral. Afraid of opening old wounds, Grace must find a place where the culture of her past can feed the truth of her present.

    As a child in the segregated Baltimore of the early 1960s, Smith absorbed the words of her parents, teachers, neighbors—even train conductors—and realized that there was something more being communicated than the actual words:The conductor's voice had a mild kind of grandeur that was a cousin to the vocal tones I had heard at funerals—"Ashes-to-ashes"—and at christenings and weddings. These are words that have been said many times, but the person who speaks them understands that each time it must be said as if it matters, because it does matter. We never know what lies ahead, and we never know what just happened, and all words must house respect of those two unknowns.In Talk to Me, Smith looks back at a singular career as a seeker and interpreter of language in America, revealing the methodology behind her extraordinary search for the truth and nuances of verbal communication. For thirty years, the defining thesis of Smith's work has been that how we speak is just as important in communicating truth and identity as what we say. Everything from individual vocal tone to grammar, Smith demonstrates, can be as identifiable and revealing as a fingerprint. Her journey has taken her from the rarefied bastions of academia to riot-torn streets; she has conducted hundreds of interviews with subjects ranging from women prisoners to presidents of the United States. In 1995, her ongoing investigation led her to Washington, D.C. After all, what better place to wage an inquiry into the power of language and the language of power than in the city where "message" is a manufactured product? What happens when we as citizens accept—which we seem to be doing more and more—our chosen leaders' failure to tell the truth? And how can we know that we are hearing what Washington really has to say when everything we receive is filtered through the media? Armed with a blazing intellect and a tape recorder, Smith tackled these questions head-on, conducting more than four hundred interviews with people both inside and outside the power structure of Washington. She recorded these sessions in her trademark verbatim transcripts, which include every tic and verbal utterance of her subjects. More than thirty of these remarkable documents appear in this book, including interviews with Bill Clinton, Anita Hill, Studs Terkel, George Bush, Mike McCurry, and Helen Thomas. After five years of searing investigation into the world of the politicians, spin doctors, and power brokers who are steering the course of our country from inside the beltway, Smith has come away with a revelatory assessment—by turns devastating and hopeful—of the lexicon of power and politics in America. Talk to Me is a landmark contribution from a woman whose pioneering insights into language speak volumes.

    Hook, Smee, the lost boys, pirates and the indians, and, of course, Tinker Bell, in their adventures in Never Land. However, for the first time, the play is here restored to Barrie's original intentions. In the words of John Caird: "A brief explanation of some of the decisions we took in revising the text may be useful to anyone considering their own production of this version We were fascinated to discover that there was no one single document called PETER PAN. What we found was a tantalizing number of different versions, all of them containing some very agreeable surprises We have made some significant alterations, the greatest of which is the introduction of a new character, the Storyteller, who is in fact the author himself. To a reader of the play, one of its most enjoyable ingredients is Barrie's unmistakable authorial tone. He tells the story of Peter Pan partly through dialogue and partly by means of his inimitable stage directions. In a whimsical, ambiguous and ironical manner he speaks here as clearly to adults as he does to children. Moreover, many of the play's complicated conceits are only comprehensible if Barrie's commentary can be heard in parallel with the voices of the characters. This device also allows us to prepare our audience with some essential background history of the Darling family in a brief prologue, and to extend the narrative at the end of the play to include Barrie's heartbreaking and heartwarming conclusion to Peter and Wendy's story."

    This particular tale revolves around the character Chitrangada - a female soldier who attempts to get the attention of Arjuna. "Chitra" has been performed in many countries around the world and has been used as the basis for a variety of different mediums and formats, including dance. Rabindranath Tagore (1861 - 1941), was a Bengali polymath who was pivotal in the reshaping of Bengali literature and music. This antiquarian book is being republished now in an affordable, modern, high-quality edition, complete with a specially commissioned new biography of the author. Many antiquarian books such as this are increasingly hard to come by and expensive, and it is with this in mind that we are republishing this book now in an affordable, modern, high-quality edition. It comes complete with a specially commissioned biography of the author."

    Moliere's prose plays demonstrate both his versatility as a playwright and the reasons for his enduring popularity from the France of Louis XIV to the present.

    Presents the script of a 1988 play about a group of women in Chinquapin, Louisiana, who learn to draw upon their underlying strength and love to meet the challenges of life.

    Theatre script, playbook

    . . . A tragic and hilarious vision of life in an English country community. Butterworth’s new work was the most talked about new work of the season."—The London Paper

    Anton Chekhov is a unique force in modern drama, his works interpreted and adapted internationally and beloved for their understanding of the human condition and their brilliant wit. This volume contains work that has never previously been translated including the newly discovered farce The Power of Hypnosis and the first version of Ivanov, as well as Chekhov's early humorous dialogues. No less important, Laurence Senelick, who has staged many of these plays, has freshly translated them to bring into English Chekhov's jokes, the deliberate repetitions of his dialogue, and his verbal characterizations. Senelick has also annotated the works to bring clarity for the general reader and has included variants of the plays. His translations infuse new life into such classics as The Cherry Orchard and Three Sisters.

    It is a broad, but very amusing, satire upon those ideal republics, founded upon communistic principles, of which Plato's well-known treatise ['The Republic'] is the best example.-From the introduction to 'The Ecclesiazusae' by Aristophanes.

    Moon picks up eleven years after the events described in Long Day’s Journey Into Night, asJim Tyrone (based on O’Neill’s older brother Jamie) grasps at a last chance at love under the full moonlight. This paperback edition features an insightful introduction by Stephen A. Black, helpful to anyone who desires a deeper understanding of O’Neill’s work.

    Inge has taken us back to the early 1920s and into the home of the Flood family in a small Oklahoma town. Here we find Rubin, a traveling salesman for a harness firm, Cora his sensitive and lovely wife, Sonny their little boy and Reenie their teen-age daughter The plot of Mr. Inge's comedy drama is less one story than a series of short stories the fight between a husband and wife; the fear of an overly shy young girl on going to a dance; the problems of an introverted little boy who feels that the whole world, including his family is against him; the outwardly peaceful and inwardly corroding marriage of Cora's rowdy sister; the tragedy of a military school cadet whose mother has never provided him with a home and who suffers from the stigma of being a Jew in an alien community. What Mr. Inge is saying, with a power and tenderness of speech, is that there is dark at the top of everyone's stairs, but that it can be dissipated by understanding, by tolerance, by compassion and by the brand of companionship that demands not conformity but love For Mr. Inge has made in his play a statement of faith for all people who, if they accepted it, would live in a far better world."