A romantic comedy that recognizes the absurdity of life.

    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.

    In the play, Martin—a hugely successful architect who has just turned fifty—leads an ostensibly ideal life with his loving wife and gay teenage son. But when he confides to his best friend that he is also in love with a goat (named Sylvia), he sets in motion events that will destroy his family and leave his life in tatters.The playwright himself describes it this way: “Every civilization sets quite arbitrary limits to its tolerances. The play is about a family that is deeply rocked by an unimaginable event and how they solve that problem. It is my hope that people will think afresh about whether or not all the values they hold are valid."

    There is the very questionable theme in these days of the relationship between masters and servants, which this play tends to undermine.' Lord Cromer, who banned performances of Miss Julie from the English stage in October 1925It's Midsummer's Eve in the kitchen of a nobleman's house and his haughty daughter Julie flirts and plays with Jean, her father's manservant. But it's a dangerous game and once she has been seduced by him he holds the upper hand.Miss Julie, Strindberg's mighty play on power, sex and class is presented here in a coruscating version by Frank McGuinness.

    Savage has been left ten million dollars by her husband and wants to make the best use of it, in spite of the efforts of her grown-up stepchildren to get their hands on it. These latter, knowing that the widow's wealth is now in negotiable securities, and seeing they cannot get hold of it, commit her to a "sanatorium" hoping to "bring her to her senses." But Mrs. Savage is determined to establish a fund to help others realize their hopes and dreams. In the sanatorium she meets various social misfits, men and women who just cannot adjust themselves to life, people who need the help Mrs. Savage can provide. In getting to know them, she realizes that she will find happiness with them and plans to spend the rest of her life as one of them. But when the doctor tells her there is no reason why she should remain, she hesitates to go out into a hard world where people seem ready to do anything for money. The self-seeking stepchildren are driven to distraction by their vain efforts to browbeat Mrs. Savage, but she preserves her equanimity and leads them on a merry chase. At last her friends conspire to get rid of her stepchildren, and through their simple belief in the justice of her cause, they enable Mrs. Savage to carry out her plans. The last scene, a farewell party, is a delightful fantasy where each "guest" in the sanatorium realizes at last some hopeless dream for something he was never able to realize. The dominant mood is high comedy, and the audience is left with a feeling that the neglected virtues of kindness and affection have not been entirely lost in a world that seems motivated at times only by greed and dishonesty.

    It received its English premiere at the Royal Court Theatre, London in September 1998.

    Carnelle enlists half-blind seamstress Popeye to help her efforts. Meanwhile, Carnelle’s cousins, Elain and Delmont, are forced to come to terms with their late mother’s legacy, against their own desires. Beth Henley’s signature messy characters fit imperfectly into tragi-comic portraits of the American South.

    

    The First Folio is a literary icon and is the version of Shakespeare's text preferred by many actors and directors, yet no one has edited it in its entirety for over three hundred years.At the request of the Royal Shakespeare Company, Jonathan Bate and Eric Rasmunssen, two of today's most accomplished Shakespearean scholars, have used the very latest techniques and research to correct the errors and variations in the early printed copies and to present the First Folio for modern readers. The result is a fresh and definitive Complete Works for the twenty-first century.This edition includes all the material that might be needed by a student of Shakespeare. The Sonnets, The Two Noble Kinsmen, Pericles, Shakespeare's scene from Sir Thomas More, Venus and Adonis, The Rape of Lucrece, The Phoenix and Turtle, and a number of other interesting passages not published in the First Folio are also included.'This is a glorious edition of one of the world's most important books. It's the essential reference book for anyone who's ever been in love, felt jealousy, hatred, or desire. All human life is here — and every home should have one.'-Dame Judi Dench'A splendid edition … the general introduction is among the best 50-page guides to Shakespeare you could hope to find, while the short essays prefixed to each play are informative, thought-provoking and humane. Marginal notes help readers imagine what's happening onstage … the RSC's edition allows you to lose yourself in the wonder of the works.'-Dr Colin Burrow, Oxford University'A triumphant addition to our times.'-Fiona Shaw, The Times'The scholarly apparatus is discreet, elegant and pertinent. For each play, we get brief accounts of plots, dates and sources … footnotes are found snugly and legibly at the bottom of each page … there is a universe to be found in these annotations: the Renaissance world of power and fate, sex and death, language and philosophy … an edition full of endless fascination.'-Tom Deveson, Times Educational Supplement'Bate's general introduction to Shakespeare's life, stage and reputation is superb, and the short introductions to individual works are among the best of their kind available … they manage to speak about what really matters about the plays.'-Professor Michael Dobson, London Review of Books'Excellent, succinct notes and introductions to each play.'-John Carey, Sunday Times'Outstanding … Jonathan Bate writes with as much elegance as insight about the making of theatre and the creation of the plays … an impeccably informative introduction gives a comprehensive theatrical, social, political and biographical context to the plays … exemplary notes at the foot of each page translate verbal and topical obscurities … for actors and directors it will be incomparably useful, but for any curious reader of Shakespeare's plays it provides an invaluable guide to reading them not as novels or dramatic poems, but as they were intended to be read: blueprints for live performance.'-Richard Eyre, Sunday Telegraph

    Telling jokes for money offers an escape from the building site or the milk round. But the humour is a deadly serious business that also involves anger, pain and truth.' Financial Times'Trevor Griffiths has not shown his brilliance as a writer more clearly than in Comedians.' Daily Telegraph

    Concerned something has happened to her husband, Jill follows a string of clues to try and find out the secret Charles was keeping from her.

    

    Fueled by jealousy and resentment, the girls embark on a night of debauchery that goes from playfully wasted to devastatingly destructive. Their old fears, unfulfilled desires and deep bonds with each other transform a prenuptial bender into a night they'll never forget. A wicked black comedy about female friendship and growing up in an age of excess.

    Due to the scientific manipulation of the world’s crops, a destructive system for which Ben is partly responsible, there is very little nourishment left to be had, except for those most privileged and connected. Despite the dying off of most of the world, these characters manage to survive, at times tasting the good life, admiring the beauties of nature, feasting on animalistic sex, and finding love. The play raises issues of redemption, forgiveness, and responsibility as it recounts a somewhat passionate, erotic adventure story.Wallace Shawn is the author of Our Late Night (winner of the OBIE Award for Best Play), Marie and Bruce, Aunt Dan and Lemon, The Designated Mourner, The Fever, and the screenplay for My Dinner with Andre, in which he starred. Grasses of a Thousand Colors, Shawn’s first full-length play in ten years, will be produced in the United Kingdom and the United States in 2009. Shawn is a well-known film and television actor. He resides in New York City.