Higgins wagers that he can pass her off as a Duchess in a matter of weeks. But what will become of Eliza when the bet is over? This edition of ‘My Fair Lady’ includes the complete script and a selection of black and white stills from the Oscar-winning film starring Audrey Hepburn and Rex Harrison.

    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.

    Dumas's subtle and moving portrait of a woman in love is based on his own love affair with one of the most desirable courtesans in Paris. This is a completely new translation commissioned for the World's Classics.

    This omnibus collection includes all of the author’s early poetry as well as the Four Quartets, Old Possum’s Book of Practical Cats, and the plays Murder in the Cathedral, The Family Reunion, and The Cocktail Party.

    All of them are in one way or another frustrated and unhappy. Most of them are under the illusion that some day the things from which they suffer will be removed and they will be once more at peace. But when they come to see themselves, they realize that man is the sum of his past life, that they are incapable of any real revolt against their past, and that what they have made of themselves in earlier years is what they are when age approaches. Nor are they tragic figures. All of them are troubled average people, human, commonplace but they are studied with great understanding and a touch of intelligently unsentimental compassion."

    Manifesting Ridley's vivid and visionary imagination and the dark beauty of his outlook, the play resonates with his trademark themes: East London, storytelling, moments of shocking violence, memories of the past, fantastical monologues, and that strange mix of the barbaric and the beautiful he has made all his own.The Pitchfork Disney was Ridley's first play and is now seen as launching a new generation of playwrights who were unafraid to shock and court controversy. This unsettling, dreamlike piece has surreal undertones and thematically explores fear, dreams and story-telling. First produced in 1991, it has gone on to be recognised as the annunciation of Ridley's dark and seductive world.

    The newest Broadway musical by Pulitzer Prize-winning collaborators Stephen Sondheim and James Lapine, winner of the Tony Award for Best Musical, 1994.

    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.

    The superstitious townspeople resent their happiness and their subsequent meddling ends in violence and tragedy. This play was proclaimed a Broadway hit.

    In James Goldman’s classic play The Lion in Winter, domestic turmoil rises to an art form. Keenly self-aware and motivated as much by spite as by any sense of duty, Henry II and Eleanor of Aquitaine maneuver against each other to position their favorite son in line for succession. By imagining the inner lives of Henry, Eleanor, and their sons, John, Geoffrey, and Richard, Goldman created the quintessential drama of family strife and competing ambitions, a work that gives visceral, modern-day relevance to the intrigues of Angevin England. Combining keen historical and psychological insight with delicious, mordant wit, the stage play has become a touchstone of today’s theater scene, and Goldman’s screenplay for the 1968 film adaptation won him an Academy Award. Told in “marvelously articulate language, with humor that bristles and burns” (Los Angeles Times), The Lion in Winter is the rare play that bursts into life on the printed page.

    The Good Woman of Setzuan, written during Brecht's exile and set in Communist China, is a parable of a young woman torn between obligation and reality, between love and practicality, and between her own needs and those of her friends and neighbors.Adhering closely to the original German text, this is a performance-friendly translation of one of Brecht's most popular plays.

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.

    This play was originally presented under the management of Kenelm Foss at The Little Theatre, London, on November 7, 1913.

    The guide presents the major debates that surround these works as they develop, from Martin Esslin's early appropriation of the plays as examples of the Theatre of the Absurd, to recent poststructuralist and postcolonial readings by critics such as Steven Connor, Mary Bryden and Declan Kiberd. Throughout, Boxall clarifies and contextualizes critical responses to the plays, and considers the difficult relationship between Beckett and his critics.