In a house just outside the village of Ballybeg live the five Mundy sisters, barely making ends meet, their ages ranging from twenty-six up to forty. The two male members of the household are brother Jack, a missionary priest, repatriated from Africa by his superiors after twenty-five years, and the seven-year-old child of the youngest sister. In depicting two days in the life of this menage, Brian Friel evokes not simply the interior landscape of a group of human beings trapped in their domestic situation, but the wider landscape, interior and exterior, Christian and pagan, of which they are nonetheless a part.

    The eclectic band of citizens that make up this town are portrayed by only two performers, making this satire on life in rural America even more delightful as they depict all of the inhabitants of Tuna -- men, women, children and animals.

    During the War of the Seven Against Thebes, Antigone, the daughter of Oedipus, learns that her brothers have killed each other, having been forced onto opposing sides of the battle. When Creon, king of Thebes, grants burial of one but not the "treacherous" other, Antigone defies his order, believing it her duty to bury all of her close kin. Enraged, Creon condemns her to death, and his soldiers wall her up in a tomb. While Creon eventually agrees to Antigone's release, it is too late: She takes her own life, initiating a tragic repetition of events in her family's history.In this outstanding new translation, commissioned by Ireland's renowned Abbey Theatre to commemorate its centenary, Seamus Heaney exposes the darkness and the humanity in Sophocles' masterpiece, and inks it with his own modern and masterly touch.

    Six cities. A thousand stories.Newsroom, political platform, local hot spot, confession box, preacher-pulpit and football stadium. For generations, African men have gathered in barber shops to discuss the world.

    No one is more excited than Cripple Billy, an unloved boy whose chief occupation has been grazing at cows and yearning for a girl who wants no part of him. For Billy is determined to cross the sea and audition for the Yank. And as news of his audacity ripples through his rumor-starved community, The Cripple of Inishmaan becomes a merciless portrayal of a world so comically cramped and mean-spirited that hope is an affront to its order.

    "Ravenhill has more to say, and says it more refreshingly and wittily, than any other playwright of his generation"—Time Out "There are few stage authors writing more interestingly than Mark Ravenhill … He is - it is now yet more evident - a searing, intelligent, disturbing sociologist with a talent for satirical dialogue and a flair for sexual sensationalism."—Financial Times Shopping and Fucking: "is a darkly humorous play for today's twenty-somethings … a real coup de theatre"—Nicholas de Jongh, Evening Standard Faust: "…an intelligent and witty reappropriation of the legend … alive, pertinent and disturbing"—Michael Coveney, Observer Handbag: "…combines urban grit with sly wit, and reveals Mark Ravenhill as a writer of real daring" —Daily Telegraph Some Explicit Polaroids: "laudably ambitious, pulsates with energy … very funny"—Financial Times

    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.

    It was only when Max Ophuls made his famous film in 1950 that the work became better known as La Ronde. Now David Hare has reset these circular scenes of love and betrayal in the present day, with a cast of two actors playing a succession of characters whose sexual lives enmesh like a daisy chain. The Blue Room is a meditation on men and women, sex and social class, actors and the theater. With deft insight about the gap between the sexes, The Blue Room takes the treacherous Freudian subject of projection and desire and reinvents it in a bittersweet landscape that is both eternal and completely up-to-date.

    Book by McLure, James

    Mrs. Bennett is determination to get her daughters married. Jane, Elizabeth and Lydia are likely looking girls in a period when a woman's one possible career is matrimony. To be a wife was success. Anything else was failure. Jane and her Mr. Bingley and Lydia with her Mr. Wickham are quite content with things as they are, but not Elizabeth! She actually refuses to marry Mr. Collins, whom she openly deplores, and Mr. Darcy, whom she secretly adores. The play is the story of the duel between Elizabeth and her pride and Darcy and his prejudice. Each gives in before the evening is over and pride and prejudice meet halfway.

    and was the sensation of that year's theatre season, making front-page headlines and outraging some critics who thought her premise that there was a connection between a rape in a Leeds hotel room and the hellish devastation of civil war was simply an attempt to shock audiences. The questions raised in this play about violence are at the heart of Kane's writing.

    Many have large casts and an equal mix of boy and girl parts. Set in the Malayan jungle in 1942, this play explores what happens when soldiers have to confront the reality of war.

    More than in any of his other plays, Strindberg explores this theme in depth in The Father.In exploring the emotionally charged battle of the sexes and the clashes between scientific and religious convictions, The Father vividly delineates the essential quality of a man’s relationship with his wife and his daughter. The problem of paternity, trivial at the outset, develops into marital upheaval and a no-holds-barred struggle between man and woman.Widely regarded as one of Strindberg's best literary efforts, The Father remains one of the most gripping psychological dramas of the theater.

    This adaptation offers readers the exquisite wordplay, beguiling comedy and fierce intelligence found in all of Kushner's work.The Illusion follows a contrite father, Pridamant, seeking news of his prodigal son from the sorcerer Alcandre. The magician conjures three episodes from the young man's life. Inexplicably, each scene finds the boy in a slightly different world: names change, allegiances shift and fairy-tale simplicity evolves into elegant tragedy. Pridamant watches, enthralled by the boy's struggles, but only as the strange tale reaches its conclusion does the father confront the ultimate-and unexpected-truth about his son. An enchanting argument for the power of theatrical imagination over reality, "The Illusion" weaves obsession and caprice, romance and murder, fact and fiction, into an enticing exploration of the greatest illusion of all-love.

    Boom tells the story of an elderly woman and her property agent son in Singapore, who are struggling over the potential en bloc sale of their home. Their destinies become interwoven with that of an idealistic civil servant, Jeremiah, who is facing the greatest challenge of his career—persuading a reluctant corpse to yield its memories. Boom is a quirky yet poignant tale about the relocation of both dead and living, and how personal stories get left behind in the inexorable march of progress.Written by economist-turned-playwright Jean Tay, Boom was conceptualised at the Royal Court Theatre in London in 2007, and developed and staged by the Singapore Repertory Theatre in September 2008. It was nominated for Best Original Script for The Straits Times’ Life! Theatre Awards in 2009 and is now an O- and N-Level Literature text in Singapore schools.“Jean Tay is one of the most gifted playwrights I have come across in years.” —Gaurav Kripalani, Artistic Director, Singapore Repertory Theatre