Songs include: Heaven on Their Minds * Everything's Alright * Hosanna * Pilate's Dream * I Don't Know How to Love Him * The Last Supper * I Only Want to Say (Gethsemane) * King Herod's Song * Superstar.

    "Once in a Lifetime" is a satire about three small-time vaudevillians who set out for Hollywood as films move from silents into sound.The 1936 Pulitzer Prize winner "You Can’t Take It With You" is about a zany family of hobby-horse enthusiasts. For thirty-five years Grandpa has done nothing but hunt snakes, throw darts, and avoid income-tax payments; his son-in-law makes fireworks in the basement, and other assorted family members write plays, operate amateur printing presses, and play the xylophone. They live in playful eccentricity until daughter Alice brings home her Wall Street boyfriend."The Man Who Came to Dinner" (1939) became a long-running hit. It portrays an eminent lecturer (based on Alec Woollcott) who accepts a dinner invite in a small Ohio town, slips on the ice outside his hosts’ home, and is forced to their sickbed. Convalescing he turns the house into bedlam with his wacky friends and diabolic pranks.Also included in this volume are “Men at Work” and “Forked Lightning,” two essays Kaufman and Hart wrote about each other.

    But hidden there is a secret no one wants to confront, and when they stumble upon it the friends set off an unstoppable chain of events. A supernatural thriller of suburban teenagers fleeing a mysterious plague.

    Ferdinand, the king of Navarre, insists that his court join him in a pledge to undertake a strict regimen of study and celibacy. The grudging compliance of three noblemen is sorely tested — as is the king's own resolve — with the arrival of a French princess and a trio of comedy attendants.

    Gale has fashioned a spare but powerful tale that thrusts the indignities of slavery and the stupidity of racism out of the murky 18th century and into the here and now.—Martin Morrow, Calgary Herald

    The title character, here called Pippin, is a naive, inexperienced young man looking to make his mark in the world. He seeks glory and personal fulfillment first as a soldier, then as a lover, and finally as a revolutionary leader promoting progressive social ideas. After every attempt at success has left him disappointed and frustrated, until he is on the brink of utter despair, Pippin finds himself attracted to the widow Catherine and her young son. Ultimately, he is given a choice between either performing a single great deed that will bring him instant fame and glory but just as instantly cut short his young life, or settling for a long, comfortable, but mediocre existence as a domestic non-entity taking care of his sweet but completely unremarkable family.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    It seems very remote to Miranda Martin, who thinks of nothing but the future during the Indian summer. Then Andrew, her officer brother, comes home, bringing eccentric, likeable Harry. As the summer fades, the scene is set for tragedy.

    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.

    All roads are blocked, and four or five weary travelers are going to have to hole up until morning. Cherie, a nightclub chanteuse in a sparkling gown and a seedy fur-trimmed jacket, is the passenger with most to worry about. She's been pursued, made love to and finally kidnapped by a twenty-one-year-old cowboy with a ranch of his own and the romantic methods of an unusually headstrong bull. The belligerent cowhand is right behind her, ready to sling her over his shoulder and carry her, alive and kicking, all the way to Montana. Even as she's ducking out from under his clumsy but confident embraces, and screeching at him fiercely to shut him up, she pauses to furrow her forehead and muse, "Somehow deep inside of me I got a funny feeling I'm gonna end up in Montana " As a counterpoint to the main romance, the proprietor of the cafe and the bus driver at last find time to develop a friendship of their own; a middle-age scholar comes to terms with himself; and a young girl who works in the cafe also gets her first taste of romance.

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

    The newest play by the author of the Pulitzer Prize-winning Driving Miss Daisy.

    Weller Martin is playing solitaire on the porch of a seedy nursing home. Enter Fonsia Dorsey, a prim, self righteous lady. They discover they both dislike the home and enjoy gin rummy so they begin to play and to reveal intimate details of their lives. Fonsia wins every time and their secrets become weapons used against one another. Weller longs for a victory to counter a lifetime of defeats but it doesn't happen. He leaves the stage a broken man and Fonsia realizes her self-righteous rigidity has led to an embittered, lonely old age. "A thoroughly entertaining lesson in the fine art of theatrical finesse. The closest thing the theatre offers to a duel at 10 paces."-The New York Times"Extremely intelligent..fine bittersweet comedy...Funny, sad, profane, eloquent, touching, beautiful."-WABC-TV"Perfect...A vibrant study on loneliness, disillusion, old age and death yet fiercely funny."-The Boston Globe

    When Agnes finds Tilly's Dungeons & Dragons notebook, however, she stumbles into a journey of discovery and action-packed adventure in the imaginary world that was Tilly's refuge. In this high-octane dramatic comedy laden with homicidal fairies, nasty ogres, and 90s pop culture, acclaimed young playwright Qui Nguyen offers a heart-pounding homage to the geek and warrior within us all.

    Unable to understand each other, they embarked on one of the most unusual experiments in British art as the pitmen learned to become painters. Within a few years the most avant-garde artists became their friends, their work was taken for prestigious collections and they were celebrated throughout the British art world; but every day they worked, as before, down the mine.The Pitmen Painters premiered at Live Theatre, Newcastle-upon-Tyne, in September 2007, before transferring to the National Theatre in 2008.