They sailed far out to sea. The blue one returned to the harbor. The red one sailed home too. But the yellow boat sailed up to the sun." Benjamin always concluded his bedtime ritual by saying, "Mom, you can be the red boat or the blue boat, but I am the yellow boat." This remarkable voyage of Benjamin was extensively developed and widely produced in America for several years, always to ovations. Cast of 4 men and 3 women.THE YELLOW BOAT is based on the true story of David and Sonja Saar's son, Benjamin, who was born with congenital hemophilia, and died in 1987 at the age of 8 of AIDS related complications. A uniquely gifted visual artist, Benjamin's buoyant imagination transformed his physical and emotional pain into a blaze of colors and shapes in his fanciful drawings and paintings. The story of THE YELLOW BOAT Is a glorious affirmation of a child's life, and the strength and courage of all children. Recommended for children of age 8 and older, parents, families and adults.

    Amy is curled up on the locker room floor. DRY LAND is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.

    It was one of the first published collections of poetry written by a woman in England. The little we know of Emilia Bassano is restricted to the possibility that she may have been the Dark Lady of Shakespeare's Sonnets - and the rest of HerStory has been erased by History.Commissioned specifically for Shakespeare's Globe, and with an all-female cast, this world premiere will reveal the life of Emilia: poet, mother and feminist. This time, the focus will be on this exceptional woman who managed to outlive all the men the history books tethered her to.

    Dowd starts to introduce his imaginary friend Harvey, a six and a half foot rabbit, to guests at a dinner party, his sister, Veta, has seen as much of his eccentric behavior as she can tolerate. She decides to have him committed to a sanitarium to spare her daughter, Myrtle Mae, and their family, from future embarrassment. Problems arise, however, when Veta herself is mistakenly assumed to be on the fringe of lunacy when she explains to doctors that years of living with Elwood's hallucination have caused her to see Harvey also! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion. When he shows up at the sanitarium looking for his lost friend Harvey it seems that the mild-mannered Elwood's delusion has had a strange influence on more than one of the doctors. Only at the end does Veta realize that maybe Harvey isn't so bad after all.

    He's a really good professional wrestler. He's not the champion though - that's the impossibly charismatic Chad Deity. When Mace discovers a young Indian-American Brooklyn kid whose charisma rivals that of the champ, Mace decides to get him a job in the company. Only problem is, the boss has a very specific plan for the duo: put them onscreen as terrorists. Kristoffer Diaz's The Elaborate Entrance of Chad Deity is a serious minded comedy about wrestling, geopolitics, and raisin bread."The Elaborate Entrance of Chad Deity...has the delicious crackle and pop of a galloping, honest-to-God, all-American satire." - The New York Times"Ladies and Gentlemen, in this corner of Chicago's rich theater scene, weighing in with a unique combo of vigorous physicality and wickedly intelligent humor, please put your hands together for The Elaborate Entrance of Chad Deity, a vibrantly entertaining, insightful new play about - wait for it - professional wrestling."- Variety

    Isaac’s father, who once ruled the family with an iron fist, has had a debilitating stroke; his younger sister, Maxine, is now his brother, Max; and their mother, Paige, is committed to revolution at any cost. Determined to be free of any responsibility toward her formerly abusive husband—or the home he created—Paige fervently believes she can lead the way to a "new world order." Hir, Taylor Mac’s subversive comedy, leaves many of our so-called normative and progressive ideas about gender, families, the middle class—and cleaning—in hilarious and ultimately tragic disarray.

    It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe.Mike Bartlett's contemporary and directed dialogue combines a strong sense of humanity with epic ambition, as well as finely-aimed shafts of political comment embedded effortlessly into every scene. Earthquakes in London represents modern playwriting at its most exciting and ambitious.It's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone…. You were the glimmer. At the end of the tunnel. And you went out.

    Now, with the kids ready to make lives of their own, it's time to sit back and smell the roses. But the change of the seasons reveals some shattering truths, leaving us asking whether it's possible to love too much.Things I Know To Be True is Andrew Bovell's complex and intense portrait of the mechanics of a family - and a marriage - through the eyes of four siblings struggling to define themselves beyond their parents' love and expectations.Beautifully touching, funny and bold, the play was premiered in Adelaide, Australia, as a co-production between Frantic Assembly and the State Theatre Company of South Australia. It received its British premiere in 2016, co-produced with Warwick Arts Centre in association with Chichester Festival Theatre and the Lyric Hammersmith.

    . . manages to sound both epic and rooted in a specific place. Listen closely, and you might hear that thrilling sound that is one of the main reasons we go to the theater, that beautiful music of a new voice.”—The New York Times“Taut, expressive drama, The Brothers Size realizes the potential of theater to elevate the ordinary. . . . McCraney’s writing can be arresting.”—Time Out New YorkThis is the first collection by Tarell Alvin McCraney, a major new playwright of the American theater. Lyrical and mythic, provocative and contemporary, McCraney’s dramas of kinship, love, and heartache are set in the bayou of Louisiana and loosely draw on West African myths. In the Red and Brown Water charts the story of Oya, a fast and beautiful track star who must make difficult choices on her journey to womanhood. The Brothers Size dramatizes the struggle between brothers who have taken different paths: Ogun, single-mindedly running his auto shop, and Oshoosi, recently returned from prison and fallen back with trouble. Marcus; or the Secret of Sweet explores a young man’s relationship with his history and friends as he discovers his sexuality and true self against the backdrop of an impending storm.Tarell Alvin McCraney’s other works include Wig Out! and The Breach. His plays have been produced at The Public Theater in New York, internationally at the Royal Court Theatre and Abbey Theatre, and throughout the United States.

    

    Filled with behind-the-scenes information and photos of the cast and crew, this annotated script will enchant and entertain fans of the book and the play alike.

    From their different versions of the healer's performances and a terrible event at the centre of the drama, Friel creates a powerful and haunting work of art.

    It won the 1995 Evening Standard Award for Best Comedy and, the Writers' Guild for Best West End Play."An exceptionally accomplished first play . . . though I know nothing about poker, I testify to the compulsive grip this play exerts and to the accumulation of meanings it ignites in your head."—Financial Times"Patrick Marber's enthralling close-up of the demons which drive compulsive gamblers is among the finest new plays in many a year."—Daily Mail

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    w. inset. Kirk Douglas played on Broadway as a charming rogue who contrives to serve a short sentence in an airy mental institution rather in a prison. This, he learns, was a mistake. He clashes with the head nurse, a fierce artinet. Quickly, he takes over the yard and accomplishes what the medical profession has been unable to do for twelve years; he makes a presumed deaf and dumb Indian talk. He leads others out of introversion, stages a revolt so that they can s