Concerned something has happened to her husband, Jill follows a string of clues to try and find out the secret Charles was keeping from her.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    Louise wakes up to find herself trapped with Mark, who has saved her life. Mark is always prepared for the worst and has everything he thinks they will need to survive; tinned chilli, Dungeons and Dragons and a knife - now all they need to do is to wait until it's safe to go outside. Can they survive the attack? Can they survive each other?After The End received its world premiere at The Traverse Theatre in August 2005.

    . . . Ruhl writes with the imaginative sweep that allows Woolf's poetry to soar."—Variety"Sarah Ruhl's smart new translation [of Three Sisters] feels just right to contemporary American ears—lean, colloquial, and conversational for us and true to Chekhov's original work."—The Cincinnati EnquirerIn her stage adaptation of Virginia Woolf's gender-bending, period-hopping novel, award-winning playwright Sarah Ruhl "is her usual unfailingly elegant, unbeatably witty self, cleverly braiding her own brand-name wit with Woolf's" (New York )magazine. Preserving Woolf's vital ideas and lyrical tone, Ruhl brings to the stage the life of an Elizabethan nobleman who's magically transformed into an immortal woman. In her fresh translation of Three Sisters, the Anton Chekhov classic of ennui and frustration, Ruhl employs her signature lyricism and elegant understanding of intimacy to reveal the discontent felt by fretful Olga, unhappy Masha, and idealistic Irina as they long to leave rural Russia for the ever-alluring Moscow.Sarah Ruhl's other plays include the Pulitzer Prize finalists In the Next Room (or the vibrator play) and The Clean House, as well as Passion Play, Dean Man's Cell Phone, Demeter in the City, Eurydice, Melancholy Play, and Late: a cowboy song. She is the recipient of a Whiting Writers' Award, a PEN/Laura Pels Award, and a MacArthur Fellowship. Her plays have premiered on Broadway, Off-Broadway, and in many theaters around the world.

    She doesn’t go to school and never leaves the flat by day. Sensing in each other a kindred spirit, the two become devoted friends. What Oskar doesn’t know is that Eli has been a teenager for a very long time…Jack Thorne's adaptation of Let The Right One In premiered in June 2013 at the Dundee Rep Theatre in a production by the National Theatre of Scotland, before transferring to London's Royal Court Theatre in November 2013.

    Theatre script, playbook

    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.

    She falls in love with his son, Hood, and the narrative unfolds in tragedy of immense proportions. Medea is a verse adaptation of Euripides' drama and was created especially for the actress Judith Anderson. Their combined genius made the play one of the outstanding successes of the 1940s. In Medea, Jeffers relentlessly drove toward what Ralph Waldo Emerson had called "the proper tragic element" terror.

    He explains that the actor, instead of starting with what is real and trying to portray that on screen, should work with the realities of the shoot itself, and then work out how to make it all appear realistic.Tucker has created and developed several screen acting of a courses, and this book is an extension and explanation of a lifetime of work in the field. Containing over fifty acting exercises, this book leads the reader step-by-step through the elements of effective screen acting.Refreshing in its informal approach and full of instructive anecdotes, Secrets of Screen Acting is an invaluable guide for those who wish to master the art of acting on-screen.

    He employs a matchmaker a woman who subsequently becomes involved with two of his menial clerks, assorted young and lovely ladies, and the headwaiter at an expensive restaurant where this swift farce runs headlong into a hilarious complications. After everyone gets straightened out romantically and has his heart's desire, the merchant finds himself affianced to the astute matchmaker herself. He who was so shrewd in business is putty in the hands of Dolly Levi. He is fooled by apprentices in a series of hilarious hide and seek scenes, and finally has all his bluster explode in his face.

    He is also an accomplished screenwriter who has in the past few years turned his hand to writing plays. The results, collected here, hilariously explore serious questions of love, happiness and the meaning of life; they are rich with equal parts of pain and slapstick humour, torment and wit.

    Hairspray (978-1-5578-3514-7); Rent (978-1-5578-3737-0); Fiddler on the Roof (978-0-8791-0136-7)

    A farce with a hilarious drunk scene for two stylish comediennes.

    But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fiancé, Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and needs help packing. Amanda balks and ends up (gently) hitting the postman, who happens to be her first boyfriend. They spend the night together in an apple orchard, where Amanda tries to tell Billy how her life got sidetracked. It has something to do with being a young woman in a profession that only recognizes famous men. Billy acts like he might have the answer, but doesn't. Neither does Amanda's mother. Or, for that matter, her father. A Feminine Ending is a gentle, bittersweet comedy about a girl who knows what she wants but not quite how to get it. Her parents are getting divorced, her fiancée is almost famous, her first love reappears, and there's a lot of noise in her head but none of it is music. Until the end. "Ending′ is a promising beginning...the playwright has a sense of humor that brings to mind a budding Wendy Wasserstein and a liberated sense of form that evokes a junior Paula Vogel."-Los Angeles Times "Darkly comic. FEMININE ENDING has undeniable wit." -New York Post. "Appealingly outlandish humor." -The New York Times. "Courageous. The 90-minute piece swerves with nerve and naivete. Sarah Treem has a voice all her own." -Newsday.

    Douglas. The play features Academy Awards nominees Paul Giamatti in the role of Stephen A. Douglas and David Straithairn as Abraham Lincoln. Two Presidential candidates - one a rising Illinois legislator, the other a bombastic US Senator. Obama and McCain? Think again. In this transcendent Broadway play, the famous Lincoln-Douglas debates tackle the day's most passionate issue - slavery. Their battle comes to life through the eyes of Adele Douglas, wife of candidate Stephen Douglas. Challenged by the charming man from Illinois, she reexamines her basic beliefs about the American concept of freedom. Evocative, inspiring and stirring theatre]] raves The New York Times.