It was first performed at Vanessa Bell's London studio in 1935 as one of Bloomsbury's theatrical evenings and later, in New York, in a star-studded French production. Edited and with a Preface by Lucio P. Ruotolo; drawings by Edward Gorey.

    This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    They were, after all, born as conjoined twins. But a horrific revelation drives a wedge between the siblings, plunging Chandan into a cycle of guilt and blame from which he cannot escape. One of Mahesh Dattani's most popular works, Tara was also one of the first Indian plays in English to highlight the dangers of gender discrimination, and the insidious ways in which it operates in our society.

    She adapted it as a play, which was awarded the Pulitzer Prize for Drama in 1921. In the same year, Gale took an active role in the creation of the Wisconsin Equal Rights Law, which prohibits discrimination against women.

    Out of this rare collaboration has come a dramatic work that is eminently readable and at the same time suitable for staging.

    As a patriotic young man, he enlisted in the East German Stasi and was sent to Afghanistan, where he and a friend were taken prisoner by the Mujahadin. Years later Paul is sent to America as a contact for the KGB, where his life is changed forever by one woman. Together, these two exiles must find the strength to resist demands of the men who claim to own them.

    With A Raisin in the Sun, Hansberry gave this country its most movingly authentic portrayal of black family life in the inner city. Barely five years later, with The Sign in Sidney Brustein's Window, Hansberry gave us an unforgettable portrait of a man struggling with his individual fate in an age of racial and social injustice. These two plays remain milestones in the American theater, remarkable not only for their historical value but for their continued ability to engage the imagination and the heart.With an Introduction by Robert Nemiroff

    Most of Shaw's early plays were either banned by the censor or refused production. With Plays: Pleasant and Unpleasant he sought a reading audience. He also began the practice of writing the challenging, mocking, eloquent prefaces to his plays, which were sometimes longer than the play itself. This volume contains the Unpleasant: Widowers' Houses; The Philanderer; and Mrs. Warren's Profession.

    The Story: Andrew Rally seems to have it all: celebrity and acclaim from his starring role in a hit television series; a rich, beautiful girlfriend; a glamorous, devoted agent; the perfect New York apartment; and the chance to play Hamlet in Central Park. There are, however, a couple of glitches in paradise. Andrew's series has been canceled; his girlfriend is clinging to her virginity with unyielding conviction; and he has no desire to play Hamlet. When Andrew's agent visits him, she reminisces about her brief romance with John Barrymore many years ago, in Andrew's apartment. This prompts a seance to summon his ghost. From the moment Barrymore returns, dressed in high Shakespearean garb, Andrew's life is no longer his own. Barrymore, fortified by champagne and ego, presses Andrew to accept the part and fulfill his actor's destiny. The action becomes more hilarious with the entrance of Andrew's deal-making friend from LA, spouting the laid-back hype of the Coast and offering Andrew a fabulous new TV deal worth millions of dollars. The laughs are nonstop as Andrew wrestles with his conscience, Barrymore, his sword, and the fact that he fails as Hamlet in Central Park.

    Moving from street corner to living room, from bedroom to kitchen, we meet the inhabitants of young, middle-aged, and old, glimpsing their socially and emotionally wretched lives, in this sharp, sad, funny, and angry play.

    Ruhl dramatizes a community of players rehearsing their annual staging of the Easter Passion in three different eras: 1575 northern England, just before Queen Elizabeth outlaws the ritual; 1934 Oberammergua, Bavaria, as Hitler is rising to power; and Spearfish, South Dakota, from the time of Vietnam through Reagan’s presidency. In each period, the players grapple in different ways with the transformative nature of art, and politics are never far in the background, as Queen Elizabeth, Hitler, and Reagan each appear, played by a single commanding actor.Sarah Ruhl’s plays include Dead Man’s Cell Phone, Eurydice, and The Clean House, which was nominated for the Pulitzer Prize. Her work has been widely produced both throughout the country and internationally, and she is the recipient of the MacArthur “Genius” Fellowship.

    "You Got Older" is a tender and darkly comic new play about family, illness, and cowboys - and how to remain standing when everything you know comes crashing down around you.

    Mysterious, gloomy castles and open graves at midnight are just two of the Gothic devices used to chilling effect in this 19th-century horror classic that turned an obscure figure from Eastern European folklore into a towering icon of film and literature.

    In this sly critique of contemporary relationships, Reza skillfully picks apart the friendship of three men via a bowl of olives and a white-on-white painting. Now translated into more than 30 languages, Art continues to be performed worldwide, even as Reza's other plays have garnered similar acclaim. Life x 3, Reza's most recent offering, again highlights her satirical wit as two couples face off in three different versions of the dinner from hell. Praised as "compact, cool and clever" by Christopher Isherwood of Variety, Reza uses the acidic exchanges of her characters to illuminate their inner desire for love and acceptance. Also included in this edition are two earlier plays, The Unexpected Man and Conversations After a Burial. Each elucidates the startling difference between public and private life, be it in the confines of a train compartment or a country estate in the aftermath of a loved one's passing.

    The playtext is reproduced here with footnotes which will be of no help to anyone and a letter from the authors to the Queen.