Theatre script, playbook

    A sympathetic werewolf, a vampire and an Egyptian princess brought to life when her tomb is opened make this a comedy that has everything."Far and away the funniest two hours on a New York stage....What more meaningful gift could Ludlam bequeath [audiences

    In a series of elegant, nonchronological scenes spanning the years from 1946 to 2015, the play hopscotches through Mary Page Marlowe’s quiet existence as an accountant from Ohio—complicating notions of what it means to lead a “simple life.”

    Marcus Hubbard, rich, despotic and despised, made a fortune during the Civil War by running the blockade and worse. In his family life he is equally injurious: one son he bulldozes while the other he holds in contempt for his frailty. By Marcus's side stands his mentally deranged wife and, finally, Regina, the adored daughter amoral, conniving, and beautiful as an evil flower. Marcus, it would seem, has been on the top of the heap long enough and someone must depose him. Turning the tables on a tyrant has always made for high drama, and when Hellman puts her brilliant talents to work on such a theme the result is a play of great theatrical intensity.

    Feeling like what they have is real, Canary’s more than willing to go however many rounds necessary with Kalena to get her point across. Just when Canary thinks things have settled down, Laxton hits her with another curveball: baby talk. Still scarred from her prior miscarriage, the thought of parenthood scares Canary, but Laxton just might be the one to help her overcome her fear. Canary is like a breath of fresh air to Laxton and his family, and the only thing that could make life better is Canary saying she’s ready to call Houston home. With his eye on the prize, Laxton is focused on the future and putting a few babies up in Canary, but his past won’t let him be great. No matter how much he pushes her away, Kalena is the ultimate headache for Laxton and refuses to let the next chick replace her. Kalena says nothing but death can keep her from Laxton, but the question is, whose life will be lost when it’s all said and done? Kenji and Silk may seem like the most unlikely couple, but when she agrees to stick by his side after finding out just how he makes his money, he knows he’s got a real one for sure. Kenji’s heart tells her that Silk is the one, and when he introduces her to his family, he knows Kenji is all he’ll ever need. When they least expect it, a bomb that Makiyah drops threatens to shatter the love Kenji and Silk think they’re building together. Will he be able to love Kenji past her flaws, or will their perfect love story end before they can make it to the altar? On top of that, Silk learns some shocking news that has him out for blood. Determined to destroy all that threatens his mission to uncover the truth, Silk just might sacrifice someone in his inner circle. Makiyah is hit with the ultimate betrayal when she learns the truth about her sister, Maleeah, and Ali. Through it all, the one thing that’s kept her smiling is knowing her mother will be released from prison soon. Maleeah has other plans, though, and when she shows up to steal her sister’s thunder yet again, Makiyah is faced with a hard decision: stay true to her love for Ali, or make him and Maleeah pay for their betrayal. Which path will she choose? Get ready to jump right back to the thick of things with Canary, Laxton, Kenji, Silk, Makiyah, and Keylon as they all fight to win the same thing: the heart of a real one.

    He has two manuscripts but lacks the funds to publish both. His difficult decision--whether to publish his lover's memoir or the novel written by his best friend--is further complicated by the arrival of a mysterious machine that produces pages predicting the future of the play's protagonists, affecting their lives and relationships in haunting and unexpected ways. "The Violet Hour" opened on Broadway on November 6, 2003, starring Robert Sean Leonard.

    This short play by Caryl Churchill was an entry in the 1997 London International Festival of Theatre.

    Searching Manchester in desperation, she finds all roads lead to Pomona - an abandoned concrete island at the heart of the city.Here at the centre of everything, journeys end and nightmares are born.A sinister and surreal thriller from Alistair McDowall, Pomona received its world premiere at the Orange Tree Theatre, London, on 12 November 2014.

    What Rebecca Gilman makes of this familiar scenario is something startlingly real and compelling, delving deeply into the small space that can divide a feeling of hope from one of hopelessness, as Curt and Sandy both try to get a foothold in the American dream of a house, a job, a life, a relationship with another human being.Gilman's previous play, Boy Gets Girl, was acclaimed by Time magazine as the best play of 2000, saying that "with Spinning into Butter, her play about race relations on campus, Rebecca Gilman gave notice that she was a playwright to watch. And with this intense drama of a woman's encounter with a stalker, she became one to hail . . . It's not just a gripping play but also an important one." Marked by Gilman's characteristically sharp delineation of character, pitch-perfect dialogue, and effortless use of humor that is both biting and silly, Blue Surge is a worthy successor to these plays--an intimate look at the class struggle in America today as well as a brilliant example of the dramatic craft from one of today's most accomplished practitioners. It will have its world premiere at the Goodman Theatre in Chicago in the spring of 2001.

    The eclectic band of citizens that make up this town are portrayed by only two performers, making this satire on life in rural America even more delightful as they depict all of the inhabitants of Tuna -- men, women, children and animals.

    From high-class hookers to 7/7 survivors these monologues paint a revelatory picture of Britain as it is today. After rave reviews at the 2008 Edinburgh Festival and in New York, "Eight" opened in London's West End in July 2009.

    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.

    Only two characters appear on stage; Hughie, the third and most important one, is dead. It is Hughie's innocence, gullibility, and need to believe in a far more exciting existence than he ever knew which gives some kind of purpose to the shabby lives of the two who remain. O'Neill here again writes of the defeated and the courage that comes by way of illusions reflecting still other illusions in a world that needs them all.Hughie, the only surviving manuscript from a series of eight one-act monologue plays that O'Neill planned in 1940, was completed in 1941.

    Tom Stoppard's hilarious play has been freely adapted from Ferenc Molnar's classic farce Jatek a Kastelyban."Adaptation in Stoppard's terms means finding a sympathetic text and using it as a s

    There is child plan, medical plan, retirement plan but what about the one after it?What about death and after it? What if we’re not destined to live a long life? What if we die tomorrow?Death, as like life, is a truth and one day or another, it will come for us and we cannot do anything about it but we sure can plan for the journey after it, the journey of the afterlife.This book is a story of Arpan who has no belief in Karma or the afterlife. It’s the journey of his soul in the afterlife where he finally comes to know the truths which are still unknown for most of us.