Years later he's still stranded here, soaked in cheap gin and haunted by a past love. But the arrival of another lost soul brings one last chance of freedom...Inspired by the book The Man Who Fell to Earth by Walter Tevis and its cult film adaptation starring David Bowie, Lazarus brings the story of Thomas Newton to its devastating conclusion.Written by Bowie with the playwright Enda Walsh, and incorporating some of Bowie's most iconic songs, Lazarus was first performed at New York Theatre Workshop in 2015, starring Michael C. Hall and directed by Ivo Van Hove. The production transferred to London in 2016.‘Ice-bolts of ecstasy shoot like novas through the fabulous muddle and murk of Lazarus, the great-sounding, great-looking and mind-numbing new musical built around songs by David Bowie’- Ben Brantley New York Times‘Wild, fantastical, eye-popping. A surrealistic tour de force’ - Rolling Stone Data Lookups Explore 'I'm a dying man who can't die.' Thomas Newton came to Earth seeking water for his drought-ridden planet. Years later he's still stranded here, soaked in cheap gin and haunted by a past love. But the arrival of another lost soul brings one last chance of freedom...Inspired by the book The Man Who Fell to Earth by Walter Tevis and its cult film adaptation starring David Bowie, Lazarus brings the story of Thomas Newton to its devastating conclusion.Written by Bowie with the playwright Enda Walsh, and incorporating some of Bowie's most iconic songs, Lazarus was first performed at New York Theatre Workshop in 2015, starring Michael C. Hall and directed by Ivo Van Hove. The production transferred to London in 2016.‘Ice-bolts of ecstasy shoot like novas through the fabulous muddle and murk of Lazarus, the great-sounding, great-looking and mind-numbing new musical built around songs by David Bowie’- Ben Brantley New York Times‘Wild, fantastical, eye-popping. A surrealistic tour de force’ - Rolling Stone

    Mysterious, gloomy castles and open graves at midnight are just two of the Gothic devices used to chilling effect in this 19th-century horror classic that turned an obscure figure from Eastern European folklore into a towering icon of film and literature.

    Moving between past and present, Alison relives her unique childhood playing at the family's Bechdel Funeral Home, her growing understanding of her own sexuality, and the looming, unanswerable questions about her father's hidden desires. Fun Home is a refreshingly honest, wholly original musical about seeing your parents through grown-up eyes.

    But at a time when women are second-class citizens, can her charm and spirit protect her from the dangers of the court? And at what cost?

    There's a funny smell coming from one of Jim's storage units. And Kate's losing it after spending all day with the police. There's no going back after what they've seen.Breathing Corpses was first performed at the Royal Court Jerwood Theatre Upstairs in February 2005.

    Or so they think.

    Symbolist poets and writers — Stéphane Mallarmé and Maurice Maeterlinck among them — defended the play's literary brilliance. Beyond its notoriety, the drama's haunting poetic imagery, biblical cadences, and febrile atmosphere have earned it a reputation as a masterpiece of the Aesthetic movement of fin de siècle England.Written originally in French in 1892, this sinister tale of a woman scorned and her vengeance was translated into English by Lord Alfred Douglas. The play inspired some of Aubrey Beardsley's finest illustrations, and an abridged version served as the text for Strauss' renowned opera of the same name. This volume reprints the complete text of the first English edition, published in 1894, and also includes "A Note on Salomé" by Robert Ross, Wilde's lifelong friend and literary executor. Students, lovers of literature and drama, and admirers of Oscar Wilde and his remarkable literary gifts will rejoice in this inexpensive edition.

    There he caught sight of the woman in black, the mere mention of whom terrifies the locals, for she is a specter who haunts the neighborhood where her illegitimate child was accidentally killed. Anyone who sees her dies! The lawyer has invited some friends to watch as he and the actor recreate the events of that dark and stormy night. A classic of the genre.

    Ann’s clearest memory is performing as Peter Pan in grade school, complete with the distinct elation of feeling she never had to grow up. A lyrical new play about yearning for youth, the pangs of aging, and the enduring bonds of family.

    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.

    The first published play by an African American writer, The Escape explored the complexities of American culture at a time when tensions between North and South were about to explode into the Civil War. This new volume presents the first-edition text of Brown’s play and features an extensive introduction that establishes the work’s continuing significance.The Escape centers on the attempted sexual violation of a slave and involves many characters of mixed race, through which Brown commented on such themes as moral decay, white racism, and black self-determination. Rich in action and faithful in dialect, it raises issues relating not only to race but also to gender by including concepts of black and white masculinity and the culture of southern white and enslaved women. It portrays a world in which slavery provided a convenient means of distinguishing between the white North and the white South, allowing northerners to express moral sentiments without recognizing or addressing the racial prejudice pervasive among whites in both regions.John Ernest’s introductory essay balances the play's historical and literary contexts, including information on Brown and his career, as well as on slavery, abolitionism, and sectional politics. It also discusses the legends and realities of the Underground Railroad, examines the role of antebellum performance art—including blackface minstrelsy and stage versions of Uncle Tom's Cabin—in the construction of race and national identity, and provides an introduction to theories of identity as performance.A century and a half after its initial appearance, The Escape remains essential reading for students of African American literature. Ernest's keen analysis of this classic play will enrich readers’ appreciation of both the drama itself and the era in which it appeared.The Editor: John Ernest is an associate professor of English at the University of New Hampshire and author of Resistance and Reformation in Nineteenth-Century African-American Literature: Brown, Wilson, Jacobs, Delany, Douglass, and Harper.

    Wealthy, overbearing Madame Rosepettle with her stuttering, awkward son Jonathan at her heels, arrives at a posh hotel with a man-eating tropical plant, pirahna fish and coffin in tow. Rosalie, a voluptuous babysitter from the couple next door "who never come home" attempts to seduce Jonathan and proves a formidable opponent to Madame herself.

    Her mother, Nancy, retreats into a state of frozen hope. Agnetha, an academic, comes to England to research a thesis entitled Serial Killings: A Forgivable Act? Then there's Ralph, a loner with a bit of a record who's looking for some distraction . . . Drawn together by horrific circumstances, these three embark upon a long, dark journey that finally curves upward into the light.

    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

    It remains one of the world's most widely produced plays. The plot follows a love affair between two people, Doris and George, married to others, who rendezvous once a year. Twenty-five years of manners and morals are hilariously and touchingly played out by the lovers. "Delicious wit, compassion, a sense of humor and a feel for nostalgia."-The New York Times "Genuinely funny and genuinely romantic."-The New York Post