. . . Lynn Nottage’s beautiful, hideous and unpretentiously important play [is] a shattering, intimate journey into faraway news reports.”—Linda Winer, Newsday“An intense and gripping new drama . . . the kind of new play we desperately need: well-informed and unafraid of the world’s brutalities. Nottage is one of our finest playwrights, a smart, empathetic and daring storyteller who tells a story an audience won’t expect.”—David Cote, Time Out New YorkA rain forest bar and brothel in the brutally war-torn Congo is the setting for Lynn Nottage’s extraordinary new play. The establishment’s shrewd matriarch, Mama Nadi, keeps peace between customers from both sides of the civil war, as government soldiers and rebel forces alike choose from her inventory of women, many already “ruined” by rape and torture when they were pressed into prostitution. Inspired by interviews she conducted in Africa with Congo refugees, Nottage has crafted an engrossing and uncommonly human story with humor and song served alongside its postcolonial and feminist politics in the rich theatrical tradition of Bertolt Brecht’s Mother Courage.Lynn Nottage’s plays include Crumbs from the Table of Joy, Fabulation, and Intimate Apparel, winner of the American Theatre Critics’ Steinberg New Play Award and the Francesca Primus Prize. Her plays have been widely produced, with Intimate Apparel receiving more productions than any other play in America during the 2005-2006 season.

    The scene is Mrs. Orcutt's boarding house, where the hopes and ambitions of sixteen young women are revealed in scenes of entertaining comedy. Contrasted with this are the cases of the girl without talent and the elderly actress whose days are over. The central plot has to do with courageous Terry Randall, who fights against discouragement to a position in the theater where we are sure she will conquer. One of her fellow aspirants gives up in despair, one gets married, and one goes into pictures, but Terry, with the help of idealistic David Kingsley, sticks to her guns.

    

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    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.

    But when they find that the cover-up unites them and brings harmony to their otherwise fractious lives, where’s the incentive to put things right? DNA is a poignant and, sometimes, hilarious tale with a very dark heart.A new play for younger people DNA opened at the National Theatre in February 2008

    Meanwhile, the confining village of Belmont that Portia calls home is populated by hilarious, brazen and cantan-kerous characters. From Portia to her husband, Raphael, to her vicious-tongued octogenarian granny, Blaize, to her loving aunt, the ex-prostitute Maggie-May, Marina Carr's characters are exquisitely drawn and profoundly human.

    Strongly influenced by cabaret and female drag, this exquisite rejection of shame and stereotype will punch you in the gut, break your heart and then take you dancing.

    In James Goldman’s classic play The Lion in Winter, domestic turmoil rises to an art form. Keenly self-aware and motivated as much by spite as by any sense of duty, Henry II and Eleanor of Aquitaine maneuver against each other to position their favorite son in line for succession. By imagining the inner lives of Henry, Eleanor, and their sons, John, Geoffrey, and Richard, Goldman created the quintessential drama of family strife and competing ambitions, a work that gives visceral, modern-day relevance to the intrigues of Angevin England. Combining keen historical and psychological insight with delicious, mordant wit, the stage play has become a touchstone of today’s theater scene, and Goldman’s screenplay for the 1968 film adaptation won him an Academy Award. Told in “marvelously articulate language, with humor that bristles and burns” (Los Angeles Times), The Lion in Winter is the rare play that bursts into life on the printed page.

    Son's story is deceptively simple: two young women in New York meet, talk about their boyfriends, feel a growing, unspoken attraction for each other, and finally kiss. And that one innocent kiss sets off a savage gay-bashing. But even as Stop Kiss confronts the reality of physical violence, Son's imaginative, moving, and surprising comedy brings audiences -- and her principal characters -- to unexpected places.Callie is holding down a job as a radio traffic reporter when she meets Sara, a midwesterner who, against her parents' wishes, has moved to the city to teach third-grade students in the Bronx. Both have boyfriends, but as they get to know each other, their shared experiences and sense of humor create a strong bond. The tragic consequences of their kiss -- the center of this powerful drama -- serve as both an indictment of hatred and a moving study of the perils inherent in living life fully.

    Almost one hundred years later, a groom-to-be prepares for his gay wedding.Queers celebrates a century of evolving social attitudes and political milestones in British gay history, as seen through the eyes of eight individuals.Poignant and personal, funny, tragic and riotous, these eight monologues for male and female performers cover major events - such as the Wolfenden Report of 1957, the HIV/AIDS crisis, and the debate over the age of consent - through deeply affecting and personal rites-of-passage stories.Curated by Mark Gatiss, the monologues were commissioned to mark the anniversary of the 1967 Sexual Offences Act, which decriminalised homosexual acts in private between two men over the age of twenty-one. They were broadcast on BBC Four in 2017, directed and produced by Gatiss, and starring Alan Cumming, Rebecca Front, Ian Gelder, Kadiff Kirwan, Russell Tovey, Gemma Whelan, Ben Whishaw and Fionn Whitehead. They were staged at The Old Vic in London.This volume includes:The Man on the Platform by Mark GatissThe Perfect Gentleman by Jackie CluneSafest Spot in Town by Keith JarrettMissing Alice by Jon BradfieldI Miss the War by Matthew BaldwinMore Anger by Brian FillisA Grand Day Out by Michael DennisSomething Borrowed by Gareth McLean

    The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

    The superstitious townspeople resent their happiness and their subsequent meddling ends in violence and tragedy. This play was proclaimed a Broadway hit.

    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.

    He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.