Who can it be? One by one the suspicious characters reveal their sordid pasts until at the last, nerve-shredding moment the identity and the motive are finally revealed.The Mousetrap is the longest-running play in the history of London's West End

    

    A possible break in his fortunes occurs when he receives a script from a student in the seminar he has been conducting at a nearby college a thriller which Sidney recognizes immediately as a potential Broadway hit. Sidney's plan, which he devises with his wife's help, is to offer collaboration to the student, an idea which the younger man quickly accepts. Thereafter suspense mounts steadily as the plot begins to twist and turn with devilish cleverness, and with such an abundance of thrills and laughter, that audiences will be held enthralled until the final, startling moments of the play.

    Through a psychiatrist's analysis of the events, Shaffer creates a chilling portrait of how materialism and convenience have killed our capacity for worship and passion and, consequently, our capacity for pain. Rarely has a playwrite created an atmosphere and situation that so harshly pinpoint the spiritual and mental decay of modern man.

    He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes himself. Yet this working-class Hamlet, the original Angry Young Man, is one of the most mesmerizing characters ever to burst onto a stage, a malevolently vital, volcanically articulate internal exile in the dreary, dreaming Siberia of postwar England.First produced in 1956, Look Back in Anger launched a revolution in the English theater. Savagely, sadly, and always impolitely, it compels readers and audiences to acknowledge the hidden currents of rottenness and rage in what used to be called "the good life."

    Susy Hendrix, a blind Greenwich Village housewife, is terrorized by a trio of men looking for heroin they believe her husband has hidden in a doll.

    

    An innocent-seeming birthday party for Stanley turns into a nightmare.The Birthday Party was first performed in 1958 and is now a modern classic. Produced and studied throughout the world.

    The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.

    The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

    An inspector calls to interrogate the family, and during the course of his questioning, all members of the group are implicated lightly or deeply in the girl's undoing. The family, closely knit and friendly at the beginning of the evening, is shown up as selfish, self-centered or cowardly, its good humor turning to acid, and good fellowship to dislike, before the evening is over. The surprising revelation, however, is in the inspector...

    Like his other works, Arms and the Man questions conventional values and uses war and love as his satirical targets.This edition of Arms and the Man is in the form of a paperback book.

    A tumultuous six weeks of confinement in their home follow.

    Its characters are brilliant conversationalists, including the princesses Rosalind and Celia and their Fool, Touchstone. Soon after Rosalind and Orlando meet and fall in love, the princesses and Touchstone go into exile in the Forest of Arden, where they find new conversational partners. Duke Frederick, younger brother to Duke Senior, has overthrown his brother and forced him to live homeless in the forest with his courtiers, including the cynical Jaques. Orlando, whose older brother Oliver plotted his death, has fled there, too.Recent scholars have also grounded the play in the issues of its time. These include primogeniture, passing property from a father to his oldest son. As You Like It depicts intense conflict between brothers, exposing the human suffering that primogeniture entails. Another perspective concerns cross-dressing. Most of Orlando’s courtship of Rosalind takes place while Rosalind is disguised as a man, “Ganymede.” At her urging, Orlando pretends that Ganymede is his beloved Rosalind. But as the epilogue reveals, the sixteenth-century actor playing Rosalind was male, following the practice of the time. In other words, a boy played a girl playing a boy pretending to be a girl.

    Manners and morality are also victims of Wilde's sharp wit in Lady Windermere's Fan, A Woman of No Importance and An Ideal Husband, in which snobbery and hypocrisy are laid bare. In Salomé and A Florentine Tragedy, Wilde makes powerful use of historical settings to explore the complex relationship between sex and power. The range of these plays displays Wilde's delight in artifice, masks and disguises, and reveals the pretentions of the social world in which he himself played such a dazzling and precarious part.Richard Allen Cave's introduction and notes discuss the themes of the plays and Wilde's innovative methods of staging. This edition includes the excised 'Gribsby' scene from The Importance of Being Earnest.