Set in gossipy late 18th-century England, with a fresh female voice, the play is full of humor, emotional depth, and bold theatricality. SENSE AND SENSIBILITY examines our reactions, both reasonable and ridiculous, to societal pressures. When reputation is everything, how do you follow your heart?

    Her short story, "A Jury of Her Peers", was adapted from the play a year after its debut. It was first performed by the Provincetown Players at the Wharf Theatre in Provincetown, Massachusetts on August 8, 1916. In the original play, Glaspell played the role of one of the characters, Mrs. Hale. It is frequently anthologized in American literature textbooks. The play begins as the county attorney, the sherrif, Mr. Hale, Mrs. Peters, and Mrs. Hale enter the Wright's empty farm house. On prompting from the county attorney, Mr. Hale recounts his visit to the house the previous day, when he found Mrs. Wright behaving strangely and found her husband upstairs with a rope around his neck, dead. Mr. Hale notes that, when he questioned her, Mrs. Wright claimed that she was fast asleep when someone strangled her husband.Often hailed as one of the quintessential feminist plays, 'Trifles' earned Glaspell a Pulitzer Prize and renewed literary recognition.

    Beverly is organizing the perfect dinner, but everything seems doomed to go awry--the silverware is all wrong, the radio is on the fritz, and the rest of the family can't be bothered to lift a hand to help. And yet, what appears at first to be a standard family dramedy takes a sharp, sly turn into a startling examination of deep-seated paradigms about race in America.

    It premiered on the main stage of the Royal Court Theatre, where Debbie Tucker Green’s controversial Stoning Mary has already been seen.

    Vanya and his adopted sister Sonia live a quiet life in the Pennsylvania farmhouse where they grew up, but their peace is disturbed when their movie star sister Masha returns unannounced with her twenty-something boy toy, Spike. A weekend of rivalry, regret, and raucousness begins!

    Jacobs Theater, New York City, in March 2009.

    Emma Duncan, a hypochondriac with memory problems, and her orphaned fianc

    Dowd starts to introduce his imaginary friend Harvey, a six and a half foot rabbit, to guests at a dinner party, his sister, Veta, has seen as much of his eccentric behavior as she can tolerate. She decides to have him committed to a sanitarium to spare her daughter, Myrtle Mae, and their family, from future embarrassment. Problems arise, however, when Veta herself is mistakenly assumed to be on the fringe of lunacy when she explains to doctors that years of living with Elwood's hallucination have caused her to see Harvey also! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion. When he shows up at the sanitarium looking for his lost friend Harvey it seems that the mild-mannered Elwood's delusion has had a strange influence on more than one of the doctors. Only at the end does Veta realize that maybe Harvey isn't so bad after all.

    Members of an elite student dining society, the boys are bunkering down for a wild night of debauchery, decadence and good wine. Welcome to the Riot Club.

    This latest work from the author of Our Lady of 121st Street "shares many of the traits that have made Mr. Guirgis a playwright to reckon with in recent years: a fierce and questing mind that refuses to settle for glib answers, a gift for identifying with life's losers and an unforced eloquence that finds the poetry in lowdown street talk. [Guirgis brings to the play] a stirring sense of Christian existential pain, which wonders at the paradoxes of faith" (Ben Brantley, The New York Times).

    This climactic event—when Nora slams the door on everything in her life—instantly propelled world drama into the modern age. In A DOLL’S HOUSE, PART 2, many years have passed since Nora’s exit. Now, there’s a knock on that same door. Nora has returned. But why? And what will it mean for those she left behind?

    not necessarily in that order.Keith Hamilton Cobb embarks on a poetic exploration that examines the experience and perspective of black men in America through the metaphor of Shakespeare's character Othello, offering up a host of insights that are by turns introspective and indicting, difficult and deeply moving. American Moor is a play about race in America, but it is also a play about who gets to make art, who gets to play Shakespeare, about whose lives and perspectives matter, about actors and acting, and about the nature of unadulterated love.American Moor has been seen across America, including a successful run off-Broadway in 2019. This edition features an introduction by Professor Kim F. Hall, Barnard College.

    But as the two teens cram to finish their presentation on Walt Whitman’s Leaves of Grass, they learn not only how to work together, but just how fundamentally they complement each other.

    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.

    An incendiary tale of race, madness and a Darwinian power struggle at the heart of a dying National Health Service, Blue/Orange premiered at London's Cottesloe Theatre in April 2000 and transferred to the West End in 2001.