This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    Let's take check: Finn Bar, slightly ruffled but still in fighting form. Maggie, could do with a full night's sleep but otherwise all in order... Stay here. Don't answer the door. I'll go out and get some proper food.In a new flat, three children play hide and seek. Eliot wears a crown, little Finn, King of the Wild Thing's, draws on the walls. Maggie climbs them. Hiding from the world, needing to be found, their one shared focus a mobile phone. Will it ring? Who will call? And what are they waiting for?Tusk Tusk is a tale of family loyalty as an uncertain future circles. Polly Stenham's second play premiered at the Royal Court Theatre, London, in March 2009.

    But at a time when women are second-class citizens, can her charm and spirit protect her from the dangers of the court? And at what cost?

    is a series of women's monologues tackling many different aspects of the complex female psyche.

    The dialogue crackles with hilarious, caustic putdowns as the indomitable Maggie deals with her feckless family and unwanted suitors. Everyone wants a part of Big Maggie and her property but she has other ideas.

    not necessarily in that order.Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love.American Moor has been seen across America, including a successful run off-Broadway in 2019. This edition features an introduction by Professor Kim F. Hall, Barnard College.

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

    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.

    But the arrival of Ericka, a new student with undeniable talent and beauty, captures the attention of the pageant recruiter – and Paulina's hive-minded friends. This buoyant and biting comedy explores the universal similarities (and glaring differences) facing teenage girls across the globe.

    It has been seven years since he stood in that same spot; seven years since he left his family and their history behind him.As a teenager, Rudi discovered that his father was a doctor at Auschwitz. Trying to reconcile his inherited guilt, Rudi lashed out against his family and his friends, and eventually fled to Germany. While there, he follows in his father's footsteps by studying medicine, and falls in love with Sarah, the daughter of a Holocaust survivor.Questioning redemption, love, guilt, and the sins of the father, East of Berlin is a tour de force that follows Rudi's emotional upheaval as he comes to terms with a frightening past that was never his own.

    What was life? What was love? What else could have been? Full of mordant, bitter humour, this is a passionate threnody from one of Ireland's leading playwrights.Woman and Scarecrow premieres at the Royal Court Theatre, London, in June 2006.

    His work is inventive, disciplined and, at the same time, wild and evocative. His ear is splendid and his mind is agile.”—Edward Albee“An original, a maverick wordsmith whose weird, wry dramas gurgle with the grim humor and pain of life. Eno specializes in the connections of the unconnected, the apologetic murmurings of the disengaged.”—GuardianWinner of the 2004 Oppenheimer Award for best New York debut by an American playwright, The Flu Season is a reluctant love story, in spite of itself. Set in a hospital and a theater, it is a play that revels in ambivalence and derives a flailing energy from its doubts whether a love story is ever really a love story.Will Eno has been called “a Samuel Beckett for the Jon Stewart generation” (New York Times)—he is a playwright with an extraordinary voice and a singular theatrical vision. Also included in this volume are Tragedy: A Tragedy and Intermission.Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include Oh, the Humanity and other good intentions, The Flu Season, Tragedy: a tragedy, and Intermission.

    Closer is hailed as one of the best plays of the nineties, and as the London Observer noted, it "has wired itself into the cultural vocabulary in a way that few plays have ever done."

    blu, steeped in poetic realism and contemporary politics, challenges us to try to imagine a time before war.Selected as the winner of the 2010 Yale Drama competition from more than 950 submissions, Virginia Grise's play blu takes place in the present but looks back on the not too distant past through a series of prayers, rituals, and dreams. Contest judge David Hare commented, "Virginia Grise is a blazingly talented writer, and her play blu stays with you a long time after you've read it." Noting that 2010 was a banner year for women playwrights, he added, "Women's writing for the theatre is stronger and more eloquent than it has ever been."

    A mixture of poetry, metaphysics, and common sense, they are ideal for the imaginative director and are easily adapted for radio or small acting areas.