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.

    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.

    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.

    Using the format of an end-of-term play, the new drama teacher's progress through two terms of recalcitrant classes, synical colleagues and obstructive caretakers is reviewed. Disillutioned, he departs for a safer private school.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

    

    The first two brilliant Tom Thorne novels

    In her hands. A shattering play about one woman’s unspeakable decision. hang premiered at the Royal Court Theatre, London, in 2015, in a production directed by the author, and featuring Marianne Jean-Baptiste, Claire Rushbrook and Shane Zaza.

    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.

    A deadly secret.In the stifling summer heat of 2018, Sarah Evatt suffered every parent's worst nightmare: her six-year-old son, Charlie, let go of her hand and disappeared into a crowd.He never returned.Three years later, Sarah's life is back on track. She has met a loving new boyfriend. She has just moved to a gorgeous new home. She is finally beginning to conquer her grief and trauma, and accept Charlie is gone, once and for all.Until she gets a visit.A visit from a man she is convinced is involved in Charlie's disappearance.A visit that makes her wonder whether Charlie might still be out there, after all.And a suspicious message that threatens to unearth dark truths about Sarah's past.Truths only someone closest to her could know.As events continue to spiral, Sarah must unmask the person psychologically torturing her, and find out exactly who they are, what they want, and what they know about her son.But who can she trust?And will she be able to discover their identity before she loses control completely?When I Find You is a dark psychological domestic thriller packed with twists and turns. You won't be able to put this page-turner of a novel down, right up to the staggering final page.

    Lenese Stringfield Puts the "Sex" in Sex Therapy as she takes the profession by storm with her new and innovative techniques. Her seductive nature and sexy demeanor has her clients eating out of the palm of her hand; amongst other things. Lenese has loved once and lost. So, if she can't be with the one she loves; she will love the one she's with. But, amazing sex doesn't come without a price tag. Too bad life has a lesson to teach this freaky therapist! She will soon learn that Karma is the "one bitch" that has everyone's address. Fooling around with another woman's husband is dangerous, but falling in love with one can be deadly.

    He knocks out Connor's father, tasers his mother, and then, as quick as he came, he is gone.The police quickly exhaust their leads. No ransom call comes. And Connor takes it upon himself to find his parents before it is too late. That quest, however, is complicated when he crosses paths with a group of anarchists bent on causing chaos in New York City. And their plan, Connor learns, is not only related to the abductions, it will also upend everything he thought he knew about his family.

    The young lawyer, a rising star with the Council Against Wrongful Convictions, is the last hope for inmate Eddie Nash, serving life without parole at the infamous Attica Correctional Facility in upstate New York. Attica, one of the last of the classic "Big Houses," is still haunted by the 1971 inmate revolt and police siege that left dozens of prisoners and hostages dead. Appealing the cast in federal court and unraveling the facts, Laura uncovers evidence that Eddie was framed by the police for the murder — the brutal hanging of a troubled young woman in the remote upstate town of Eden. Realizing that the real 'Hangman of Eden' may still be at large, Laura also finds herself being stalked. Are the police out to stop her from exposing their frame up? Is the real killer seeking to keep her from re-opening the investigation? Teaming up with noted innocence investigator Charles Steel, she gets a lead on evidence that could clear her client and point to the real killer. With a new trial moving forward, Laura must find the truth, and prevail in court, without becoming the next victim.

    Please understand one critical feature of this book. It is a biography, hand written by the junkie in question about his life and his alone. As such it is not a piece of literary perfection. It has not been polished to perfection by a team of editors, nor was it published by a major publishing company. Black Tar: For The Love of Heroin was originally written on a legal pad as part of a twelve step program. It made its way to me, its ultimate editor, and I was amazed by the details Stephen was able to remember and capture on paper. Once I got to know him I asked him if he would work with me on his life story and he reluctantly agreed. Sensing his hesitancy I told him we would not use his name and focus on the day to day existence of a junkie as he experienced it living from fix to fix. But Stephen could be a hard person to track down and his never ending thirst for the needle made his story a hard one to tell. I spent days upon weeks crawling the downtown streets looking for him and a lot of times when I did find him I would have to buy him heroin just to get him to work with me. So, I made a deal with him, like making a deal with the devil, that if he would help me drag his biography into existence, I would buy him enough heroin to get through each and every day we worked together.One day's worth of heroin for one day's worth of storytelling. This made it easy for him to make himself available for the writing of his biography. By the time I met Stephen he was almost fifty years old and in full blown heroin psychosis. How he managed to live as long as he had was always a miracle to me. Over the course of a year and several months I pulled every story Stephen could remember from his heroin-addled brain and preserved them on paper. But I never wanted this story to be an autobiography. I wanted it to be Stephen telling his story, in his words, no matter how it might look like in the end.With these rules in place I gave him his first computer and at first he slaved over his 'hunt and peak' computer skills. But the more he wrote the more he remembered and slowly, after three long years of exchanging one day of heroin to entice him to work one day of writing, Stephen declared himself finished with the project. I read what he had written and quickly realized that active heroin junkies make terrible writers. What he had produced was basically unusable. To make a three-year writing stint something of literary value I set myself to editing what he had written. I didn't want to strip it of the style of writing that made it junkie. More than anything else I wanted to preserve his perspective, sense of pain, his defeat, his single-minded approach to heroin and to the fact he knew it was going to kill him. I think that fatalistic view of life is what hit me the hardest.To make the book easy to digest I divided it into five segments and then spread his life between the points. And that is what we ended up with. The biography of a drug addict; barely touched by an editor's pen, and filled with the dirt, muck and blood that is a junkies life.

    Back-in-print early work by the author of subUrbia and Sex, Drugs, Rock & Roll.