It is an exploration of intimacy, identity, and the courage it takes to be who you really are.

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

    Into her life saunters Cliff, a hard working, hard drinking truck driver. He is rough and witty and just as starved for love as she is. Produced to great success at New York's Circle Repertory, this delicate two-character drama starred Peter Weller and Patricia Wettig. The Woolgatherer features several excellent monologues. "Energy, compassion and theatrical sense are there."-The New York Times "[Mastrosimone] has a knack for composing wildly humorous lines at the same time that he is able to penetrate people's hearts and dreams."-Hollywood Reporter

    Overseas, war is raging in Vietnam, Civil Rights marches are on the streets, and women’s liberation is stirring – but at home in Corrigan Charlie Bucktin dreams of writing the Great Australian Novel. Charlie’s 14 and smart. But when 16-year-old, constantly-in-trouble Jasper Jones appears at his window one night, Charlie’s out of his depth. Jasper has stumbled upon a terrible crime in the scrub nearby, and he knows he’s the first suspect – that goes with the colour of his skin. He needs every ounce of Charlie’s bookish brain to help solve this awful mystery before the town turns on Jasper. Kate Mulvany’s adaptation of Craig Silvey’s award-winning novel is wise and beautiful. A coming-of-age story, Jasper Jones interweaves the lives of complex individuals all struggling to find happiness among the buried secrets of a small rural community.Whether you know the book or not, this piercing adaptation is very much worth seeing for the way it depicts – and shows ways across – some of the deep and enduring divides in our society." - Jason Blake SMH

    is a series of women's monologues tackling many different aspects of the complex female psyche.

    Only two characters appear on stage; Hughie, the third and most important one, is dead. It is Hughie's innocence, gullibility, and need to believe in a far more exciting existence than he ever knew which gives some kind of purpose to the shabby lives of the two who remain. O'Neill here again writes of the defeated and the courage that comes by way of illusions reflecting still other illusions in a world that needs them all.Hughie, the only surviving manuscript from a series of eight one-act monologue plays that O'Neill planned in 1940, was completed in 1941.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    But at a time when women are second-class citizens, can her charm and spirit protect her from the dangers of the court? And at what cost?

    But never has he blended these disparate elements into such a brilliantly cohesive whole as he has in Lips Together, Teeth Apart,hailed by Frank Rich of the New York Times as McNallys"most ambitious and most accomplished play yet."At the heart of this haunting play is a dramatically incisive portrait of two married couples - the Trumans and the Haddocks. Uncomfortable with themselves and each other, they are forced to spend a Fourth of July weekend at the Fire Island house that the brother of one of the women left his sister when he died of AIDS. Though the house is beautiful, it is as empty as their lives and marriages have become, a symbol of their failed hopes, their rage, their fears, and of the capricious nature of death. Acerbic and haunting, Lips Together, Teeth Apart probes the stifledlives of people and their prejudices with a stunning clarity that resonates long after.

    Shan Hai Gaaru". This 2011 U.S. edition features an excerpt of the author’s WNYC Leonard Lopate Essay Contest-winning new novel "Memoirs of a Eurasian". In the post-Cultural Revolution Shanghai of 1984, university senior Sha-fei Hong longs to study in the U.S. for graduate school, ostensibly to pursue the American Dream, but partly to escape her sexually-harassing Communist cadre stepfather. She meets the visiting Chinese-American businessman Gordon Lou, who has political ambitions and ties to the Chinatown underworld in the U.S. He takes Sha-fei to the American Consulate in Shanghai to look into studying in America. There, Sha-fei meets the intern Edward Cook, a young, Caucasian American lawyer who has a strong preference for all things Asian. Within a year, these three people of entirely different cultural and socio-economic backgrounds cross paths in New York. Value systems and self-interests clash. The curtain falls on a dramatic stage of ambition, sex, intrigue, and murder.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    One act play, Drama. Two wanna-be rock stars await their takeout delivery--or is it their rock-n-roll messiah? An early work by "True West" playwright and actor Sam Shepard. Librarian's Note: No separate publication found at this time. Generally published in collections of Shepard works.