All roads are blocked, and four or five weary travelers are going to have to hole up until morning. Cherie, a nightclub chanteuse in a sparkling gown and a seedy fur-trimmed jacket, is the passenger with most to worry about. She's been pursued, made love to and finally kidnapped by a twenty-one-year-old cowboy with a ranch of his own and the romantic methods of an unusually headstrong bull. The belligerent cowhand is right behind her, ready to sling her over his shoulder and carry her, alive and kicking, all the way to Montana. Even as she's ducking out from under his clumsy but confident embraces, and screeching at him fiercely to shut him up, she pauses to furrow her forehead and muse, "Somehow deep inside of me I got a funny feeling I'm gonna end up in Montana " As a counterpoint to the main romance, the proprietor of the cafe and the bus driver at last find time to develop a friendship of their own; a middle-age scholar comes to terms with himself; and a young girl who works in the cafe also gets her first taste of romance.

    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.

    When the patriarch of the Weston clan disappears one hot summer night, the family reunites at the Oklahoma homestead, where long-held secrets are unflinchingly and uproariously revealed. The three-act, three-and-a-half-hour mammoth of a play combines epic tragedy with black comedy, dramatizing three generations of unfulfilled dreams and leaving not one of its thirteen characters unscathed.

    Living on the fringe of society, these two outcasts develop an unlikely bond. This is the book on which the Academy Award-winning film was based.

    For his daughter Rivkele, however, Jack aspires for something more—respectability through her marriage to a religious scholar. But Rivkele’s tender love affair with Manke, one of Jack’s prostitutes, threatens to destroy the upcoming marriage, and with it, Jack’s dream of redemption. Pulitzer Prize-winning author Donald Margulies transforms Sholom Asch’s classic mortality tale into a work of spellbinding power.Donald Margulies received the 2000 Pulitzer Prize for Drama for Dinner with Friends. The play received numerous awards, including the American Theatre Critics Association New Play Award, the Dramatists Guild/Hull-Warriner Award, the Lucille Lortel Award, the Outer Critics Circle Award and a Drama Desk nomination, and has been produced all over the United States and around the world. In addition to his adaptation of God of Vengeance, his many plays include Collected Stories, The Country House, Sight Unseen, The Model Apartment, The Loman Family Picnic, What’s Wrong with This Picture? and Time Stands Still. Mr. Margulies currently lives with his wife and their son in New Haven, Connecticut, where he teaches playwriting at Yale University.

    This intense look at the dark side of American suburbia is a dark and provocative new play by award-winning playwright, screenwriter, and director LaBute.

    A Greek actor and a writer are discussing how to end a play. Actors, including Doris Levine from Great Neck, Blanche DuBois, and Groucho Marx, pop out of the audience. Peppered with metaphysical and philosophical questions, the play skids along farcically until the actor and writer conclude that it lacks a beginning as well as an end.

    Martin Sherman's worldwide hit play Bent took London by storm in 1979 when it was first performed by the Royal Court Theatre, with Ian McKellen as Max (a character written with the actor in mind). The play itself caused an uproar. "It educated the world," Sherman explains. "People knew about how the Third Reich treated Jews and, to some extent, gypsies and political prisoners. But very little had come out about their treatment of homosexuals." Gays were arrested and interned at work camps prior to the genocide of Jews, gypsies, and handicapped, and continued to be imprisoned even after the fall of the Third Reich and liberation of the camps. The play Bent highlights the reason why - a largely ignored German law, Paragraph 175, making homosexuality a criminal offense, which Hitler reactivated and strengthened during his rise to power.

    Norma Jeane Baker of Troy is a partly spoken, partly sung performance piece by poet, essayist, and scholar Anne Carson, and an exploration of the lives and myths of Marilyn Monroe and Helen of Troy—iconic beauties who lived millennia apart.A thrilling and thoughtful meditation on the destabilising and destructive power of beauty, this had its world premiere at The Shed in New York City, starring Ben Whishaw and Renée Fleming.

    In 2001, the mesmerizing film adaptation was released to equally glowing reviews. Brilliantly innovative and oddly endearing, Hedwig and the Angry Inch—inspired by Plato’s Symposium—is the story of “internationally ignored song stylist” Hedwig Schmidt, the victim of a gruesomely botched sex-change operation, as dazzlingly recounted by Hedwig (née Hansel) herself in the form of a lounge act, backed by the rock band The Angry Inch.

    

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    Her oldest daughter, Kess, is a university professor in Minneapolis, but she has come home at the request of her sister, Jo who is concerned for Evelyn's mental health. Kess, a professed lesbian, wants to cut her family ties once and for all; Jo, an incurable romantic and longtime virgin, has now become pregnant; while Sherry, salty-tongued and amoral, wants only to finish high school so she can leave home for good. In the end, there is no accommodation possible but, instead, only a kind of arbitrary independence for each of the protagonists, as they come to realize that each must find her own heaven or hell in her own way.

    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.

    As their wedding day grows near, Alfred finds himself embroiled in an urban nightmare not the least of which is his fiance's family, the possiblity of marriage without Faith, muggings, and a sniper's bullet.