When one of them sets out to expose the truth, secrets become currency, the stakes get higher, and the trio s connection grows deeper in this searching, fiercely funny dark comedy with music.

    The one house belongs to Flo Owens, who lives there with her two maturing daughters, Madge and Millie, and a boarder who is a spinster school teacher. The other house belongs to Helen Potts, who lives with her elderly and invalid mother. Into this female atmosphere comes a young man named Hal Carter, whose animal vitality seriously upsets the entire group. Hal is a most interesting character, a child of parents who ignored him, self-conscious of his failings and his position behind the eight ball. Flo is sensitively wary of temptations for her daughters. Madge, bored with being only a beauty, sacrifices her chances for a wealthy marriage for the excitement Hal promises. Her sister, Millie, finds her balance for the first time through the stranger's brief attention. And the spinster is stirred to make an issue out of the dangling courtship that has brightened her life in a dreary, minor way.

    It tells the story of very private lives caught up in the heartrendering ordeal of suffering and doom - an ordeal that was largely ignored for reasons of politics and majority morality.Filled with power, anger, and intelligence, Larry Kramer's riveting play dramatizes what actualy happened from the time of the disease's discovery to the present, and points a moral j'accuse in many directions. His passionate indictment of government, the media, and the public for refusing to deal with a national plague is electrifying theater - a play that finally breaks through the conspiracy of silence with a shout of stunning impact. As Douglas Watt summed it up in his review for the New York Daily News,THE NORMAL HEART is "an angry, unremitting and gripping piece of political theater. You are bound to come away moved."

    This is where they send the new, the under-qualified, the old. And most of all the British. Mars is full of blonde Americans. It's like they're building the master race out there.Billions of miles from home, the lone research base on Pluto has lost contact with Earth. Unable to leave or send for help, the skeleton crew sit waiting.Waiting.Waiting long enough for time to start eating away at them.To lose all sense of it.To start seeing things in the dark outside.Alistair McDowall's play X premiered at the Royal Court on 30 March 2016 in the Jerwood Theatre Downstairs.

    Closer to home, though, language is failing him. He doesn't know what to say to his wife, Mary, to keep her from leaving him, and he doesn't recognize the deep feelings that his lab assistant, Emma, has for him.

    Inspired by Frank Wedekind’s controversial 1891 play about teenage sexuality and society’s efforts to control it, the piece seamlessly merges past and present, underscoring the timelessness of adolescent angst and the universality of human passion.Steven Sater’s plays include the long-running Carbondale Dreams, Perfect for You, Doll (Rosenthal Prize/Cincinnati Playhouse), Umbrage (Steppenwolf New Play Prize), and a reconceived version of Shakespeare’s Tempest, which played in London.Duncan Sheik is a singer/songwriter who also collaborated with Sater on the musical The Nightingale. He has composed original music for The Gold Rooms of Nero and for The Public Theater’s Twelfth Night in Central Park.

    Through a psychiatrist's analysis of the events, Shaffer creates a chilling portrait of how materialism and convenience have killed our capacity for worship and passion and, consequently, our capacity for pain. Rarely has a playwrite created an atmosphere and situation that so harshly pinpoint the spiritual and mental decay of modern man.

    Beverly is organizing the perfect dinner, but everything seems doomed to go awry--the silverware is all wrong, the radio is on the fritz, and the rest of the family can't be bothered to lift a hand to help. And yet, what appears at first to be a standard family dramedy takes a sharp, sly turn into a startling examination of deep-seated paradigms about race in America.

    Although she has elevated herself into the white collar class, she continues to live alone in the dangerous Bronx neighborhood of her childhood. As the play begins, Marisol narrowly escapes a vicious attack by a golf-club-wielding madman while traveling home on the subway. Later that evening Marisol is visited by her guardian angel, who informs her that she can no longer serve as Marisol's protector because she has been called to join the revolution already in progress against an old and senile God who is dying and "taking the rest of the universe with him." The war in heaven spills over into New York City, reducing it to a smoldering urban wasteland where giant fires send noxious smoke to darken the skies, where the moon has not been seen in months, where the food has been turned to salt, and where water no longer seeks its level. Alone, without her protector, Marisol begins a nightmare journey into this new war zone. She finds herself on the streets, homeless, where her many encounters include a woman beaten for exceeding her credit limit and a homeless burn victim in a wheelchair looking for his lost skin. With the apocalypse well under way, the angels have traded in their wings for Uzis and wear leather motorcycle jackets and fatigues. As the action builds to a crescendo, the masses of homeless and displaced people join the angels in the war to save the universe.

    So the impresario's diminutive assistant blacks up and goes on as Otello. The tenor awakens, dons his costume, and thence follows a hilarious comedy involving two Otellos, a volatile Italian wife, an outrageous bellhop and a cynical impresario.

    The "lower class" but very much up and coming Hopcrofts are in their bright new, gadget filled kitchen anxiously giving a little party for their bank manager and his wife and an architect neighbor. Next there are the architect and his wife in their neglected, untidy flat. Then the bank manager and his wife are in their large, slightly modernized, old Victorian style kitchen. Running like a dark thread through the wild comedy of behind the scenes disasters at Christmas parties is the story of the advance of the Hopcrofts to material prosperity and independence and the decline of the others. In the final stages the little man is well and truly on top, with the others, literally and unnervingly, dancing to his tune.

    After their mother's death, two estranged half-sisters discover a book of rare stamps that may include the crown jewel for collectors. One sister tries to collect on the windfall, while the other resists for sentimental reasons. In this gripping tale, a seemingly simple sale becomes dangerous when three seedy, high-stakes collectors enter the sisters' world, willing to do anything to claim the rare find as their own.

    Clybourne Park is a beautifully structured drama by Bruce Norris that unmasks racial bigotry when a white couple sells their home to a black family.

    Your husband is not the Red Cross. The last time he started consoling a cute, suicidal chick, he married her. ""Becky Shaw" is an amusing and cleverly constructed comedy about ambition, the cost of being truthful, and the perils of a blind date. The fast and funny dialogue navigates between five distinctively perverse and disingenuously dysfunctional characters.The plot is as follows: from the moment that Becky arrives overdressed for her blind date with straight-talking Max, it's clear the evening won't go to plan. In the immediate fallout, Becky becomes an object of devotion for her boss Andrew, who appears to have a fetish for vulnerable women. In turn Andrew's wife Suzanna turns to her step-brother Max for comfort, and their mutual desire begins to resurface.Gina Gionfriddo's masterful play is a biting American comedy with sharp, witty dialogue and a carefully crafted yet unforced story arc. Character-driven, "Becky Shaw" is a comic tale of tangled love lives and a subtle but acerbic comedy of manners.

    How can this wildly diverse quartet—separated by cultural chasms and vastly different perspectives on history—navigate a complicated, hilarious thicket of privilege, representation, and of course school district regulations? The schools are waiting, and the pageant must go on!