Dutchman presents a stylized encounter that illustrates hatred between blacks and whites in America as well as the political and psychological conflicts facing black American men in the 1960s. The play won an Obie Award as best American Off-Broadway play of 1964; it was made into a film in 1967. Set in a New York City subway car, the play involves Clay, a young, middle-class black man who is approached seductively by Lula, a white fellow passenger. Lula provokes Clay to anger and finally murders him.

    A "dumb blonde" chorus girl, mistress of a tycoon-gangster diddling in D.C., gets an education from a reporter for The New Republic, and blossoms into a very fair lady.

    The play revolves around Amal, a child confined to his adopted uncle's house by an incurable disease who, inspired by the construction of a local post office, fantasizes about receiving a letter from the king or being a postman. The play was translated into English by W. B. Yeats, and was performed in English for the first time in 1912, by the 'Irish Theatre Company' in London with Tagore in attendance. The Bengali original was staged in Calcutta in 1917. Rabindranath Tagore (1861 1941) was a Bengali polymath who reformed Bengali literature and music in the late 19th and early 20th centuries. We are republishing this antiquarian volume now complete with a specially commissioned new biography of the author."

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    The play enacts a thoroughly contemporary dilemma about the relationship between personal and state violence to civic order. Of all of Euripides' plays, this is his most skeptically subversive examination of myth, morality, and power.Depicting Herakles slowly going mad by Hera, the wife of Zeus, this play continues to haunt and inspire readers. Hera hates Herakles because he is one of Zeus' children born of adultery, and in his madness, Herakles is driven to murder his own wife and children and is eventually exiled, by his own accord, to Athens. This new volume includes a fresh translation, an updated introduction, detailed notes on the text, and a thorough glossary.

    The Tony Award-winning play that focuses on the meaning of art (in the form of a solid white painting) as well as the meaning of friendship, to both the man who bought the painting and the two friends who come to see it."

    Eleven-year-old Lucius Priest is persuaded by Boon Hogganbeck, one of his family's retainers, to steal his grandfather's car and make a trip to Memphis. The Priests' black coachman, Ned McCaslin, stows away, and the three of them are off on a heroic odyssey, for which they are all ill-equipped, that ends at Miss Reba's bordello in Memphis. From there a series of wild misadventures ensues--invoving horse smuggling, trainmen, sheriffs' deputies, and jail.

    The Pirates of Penzance, premiered in 1879, confirmed the comic genius of librettist W.S. Gilbert and composer Arthur Sullivan, following on the heels of their wildly successful H.M.S. Pinafore . Pirates invade the rocky coast of Cornwall in this topsy-turvy tale of love and duty, highlighted by the famous strains of Poor Wandering One, I Am the Very Model of a Modern Major-General, Oh, Is There Not One Maiden Breast and With Cat-Like Tread, Upon Our Prey We Steal. This vocal score includes the complete music and all dialogue, a plot synopsis, articles on the famous partnership and the history of The Pirates of Penzance, a filmography and a discography.

    Having recently demolished another car, Daisy Werthan, a rich, sharp-tongued Jewish widow of seventy-two, is informed by her son, Boolie, that henceforth she must rely on the services of a chauffeur. The person he hires for the job is a thoughtful, unemployed black man, Hoke, whom Miss Daisy immediately regards with disdain and who, in turn, is not impressed with his employer's patronizing tone and, he believes, her latent prejudice. But, in a series of absorbing scenes spanning twenty-five years, the two, despite their mutual differences, grow ever closer to, and more dependent on, each other, until, eventually, they become almost a couple. Slowly and steadily the dignified, good-natured Hoke breaks down the stern defenses of the ornery old lady, as she teaches him to read and write and, in a gesture of good will and shared concern, invites him to join her at a banquet in honor of Martin Luther King, Jr. As the play ends Hoke has a final visit with Miss Daisy, now ninety-seven and confined to a nursing home, and while it is evident that a vestige of her fierce independence and sense of position still remain, it is also movingly clear that they have both come to realize they have more in common than they ever believed possible-and that times and circumstances would ever allow them to publicly admit.

    Martin Sherman's worldwide hit play Bent took London by storm in 1979 when it was first performed by the Royal Court Theatre, with Ian McKellen as Max (a character written with the actor in mind). The play itself caused an uproar. "It educated the world," Sherman explains. "People knew about how the Third Reich treated Jews and, to some extent, gypsies and political prisoners. But very little had come out about their treatment of homosexuals." Gays were arrested and interned at work camps prior to the genocide of Jews, gypsies, and handicapped, and continued to be imprisoned even after the fall of the Third Reich and liberation of the camps. The play Bent highlights the reason why - a largely ignored German law, Paragraph 175, making homosexuality a criminal offense, which Hitler reactivated and strengthened during his rise to power.

    Highly popular and influential in the development of Elizabethan drama, it established a new genre in English theatre; the revenge play.

    Inspired by Frank Wedekind’s controversial 1891 play about teenage sexuality and society’s efforts to control it, the piece seamlessly merges past and present, underscoring the timelessness of adolescent angst and the universality of human passion.Steven Sater’s plays include the long-running Carbondale Dreams, Perfect for You, Doll (Rosenthal Prize/Cincinnati Playhouse), Umbrage (Steppenwolf New Play Prize), and a reconceived version of Shakespeare’s Tempest, which played in London.Duncan Sheik is a singer/songwriter who also collaborated with Sater on the musical The Nightingale. He has composed original music for The Gold Rooms of Nero and for The Public Theater’s Twelfth Night in Central Park.

    Under the watchful gaze of his young assistant and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting.A moving and compelling account of one of the greatest artists of the twentieth century, Mark Rothko, whose struggle to accept his growing riches and praise became his ultimate undoing.

    In this wise and intimate telling—which carries us through the seasons when her marriage was ending—Sharon Olds opens her heart to the reader, sharing the feeling of invisibility that comes when we are no longer standing in love’s sight; the surprising physical bond that still exists between a couple during parting; the loss of everything from her husband’s smile to the set of his hip. Olds is naked before us, curious and brave and even generous toward the man who was her mate for thirty years and who now loves another woman. As she writes in the remarkable “Stag’s Leap,” “When anyone escapes, my heart / leaps up.  Even when it’s I who am escaped from, / I am half on the side of the leaver.” Olds’s propulsive poetic line and the magic of her imagery are as lively as ever, and there is a new range to the music—sometimes headlong, sometimes contemplative and deep. Her unsparing approach to both pain and love makes this one of the finest, most powerful books of poetry Olds has yet given us.

    . . [Mart] Crowley's point is about how the humor is shaped and defined by the pain."-The New York TimesThe Boys in the Band was the first commercially successful play to reveal gay life to mainstream America. Alyson is proud to release a special fortieth anniversary edition of the play, which includes an original preface by acclaimed writer Tony Kushner (Angels in America), along with previously unpublished photographs of Mart Crowley and the cast of the play/film.Mart Crowley's other plays include the autobiographical A Breeze from the Gulf (1973) and The Men from the Boys (2002).