Though torn down years ago, the memories of their Residential School still live deep inside the hearts of those who spent their childhoods there. For some, like Floyd, the legacy of that trauma has been passed down through families for generations. But what is the greater story, what lies untold beneath Floyd’s alcoholism, under the pain and isolation of the play’s main character?Loring’s title was inspired by the mistranslation of the N’lakap’mux (Thompson) place name Kumsheen. For years, it was believed to mean “the place where the rivers meet”—the confluence of the muddy Fraser and the brilliant blue Thompson Rivers. A more accurate translation is: “the place inside the heart where the blood mixes.” But Kumsheen also refers to a story: Coyote was disemboweled there, along a great cliff in an epic battle with a giant shape-shifting being that could transform the world with its powers—to this day his intestines can still be seen strewn along the granite walls. In his rage the transformer tore Coyote apart and scattered his body across the nation, his heart landing in the place where the rivers meet.Floyd is a man who has lost everyone he holds most dear. Now after more than two decades, his daughter Christine returns home to confront her father. Set during the salmon run, Where the Blood Mixes takes us to the bottom of the river, to the heart of a People.In 2009 Where the Blood Mixes won the Jessie Richardson Award for Outstanding Original Script; the Sydney J. Risk Prize for Outstanding Original Script by an Emerging Playwright; and most recently the Governor General’s Literary Award for Drama.

    But when an ordinary humdrum workday becomes anything but, the stakes for who will get to tell their own story become higher than ever.

    From the best-selling playwright of Many Moons and Little Light, a feminist call to action.

    Upon his father's sudden death in Dublin, Sheridan finds out about his father's almost fifty-year relationship with Doris, an Englishwoman who was both less and far more than a mistress. Sheridan elegantly describes his search for the truth in the face of resistance from his mother, who falls fatally ill. He eventually meets Doris and learns that she never married, living only for her brief meetings with Sheridan's father. This beautifully written portrait of a marriage forces us, like Sheridan himself, to face truths of the heart that refuse to conform to the easy verities of convention.

    18 vocal selections from the Broadway classic, including: Gary, Indiana * Goodnight, My Someone * Marian the Librarian * Pick-A-Little, Talk-A-Little/Goodnight Ladies * Seventy Six Trombones * Till There Was You * The Wells Fargo Wagon * Ya Got Trouble * and more.

    Least I've got an excuse. She told me: you're nothing, you're a control. This is all just you.The Effect is a clinical romance. Two young volunteers, Tristan and Connie, agree to take part in a clinical drug trial. Succumbing to the gravitational pull of attraction and love, however, Tristan and Connie manage to throw the trial off-course, much to the frustration of the clinicians involved. This funny, moving and perhaps surprisingly human play explores questions of sanity, neurology and the limits of medicine, alongside ideas of fate, loyalty and the inevitability of physical attraction.Following on from the critical and commercial success of Enron, The Effect is the latest play from Lucy Prebble, and reunites Enron's writer and director once more delivering a vibrant theatrical exploration into the human brain via the heart. This world premiere was performed at the National Theatre's Cottesloe Theatre from November 2012-23 February 2013, starring Billie Piper and Jonjo O'Neill.The Guardian has selected The Effect as one of the highlights of 'the best theatre for autumn 2012' (2/9/12).

    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.

    When Amir and his wife Emily (Heidi Armbruster), a white artist influenced by Islamic imagery, host a dinner party, what starts out as a friendly conversation escalates into something far more damaging.

    A young lieutenant directs rehearsals of the Restoration comedy, The Recruiting Officer. With a cast of convicts, opposition from sadistic officers and a leading lady who is due to be hanged, Australia's first theatrical production is in trouble from the start.

    At the end of a long day in which the actresses Thomas auditions fail to impress him, in walks Vanda, very late and seemingly clueless, but she convinces him to give her a chance. As they perform scenes from Thomas’s play, and Vanda the actor and Vanda the character gradually take control of the audition, the lines between writer, actor, director, and character begin to blur. Vanda is acting . . . or perhaps she sees in Thomas a masochist, one who desires fantasy in “real life” while writing fantasies for a living.   An exploration of gender roles and sexuality, in which desire twists and turns in on itself, Venus in Fur is also a witty, unsettling look at the art of acting—onstage and off.

     What the Footman saw . . . In 1930s Ireland, Joe Grady becomes the footman at the stately home Cliffenden, owned by the glamorous Fullerton family. Joe is enthralled by the intrigue and scandal above stairs, and soon becomes a favourite of the daughter of the house, Cassie. There is mounting pressure on Cassie to marry American banker Wally Stanton. But Cassie is having a secret affair with the unsuitable Bowden Grey. What the Footman did . . . When Cassie and Bowden’s affair is discovered in disgraceful circumstances, the lovers are banned from seeing each other. Joe risks his position at Cliffenden, becoming a messenger between them, until he finds himself making a choice that will change the lives of everyone at Cliffenden forever. Decades later, Joe has achieved great success as a barrister. When suddenly Cassieis arrested for a sensational crime, he sets out to discover what happened to her in the intermittent years. He realises his actions at Cliffenden set off a chain of events that led to murder. But is Cassie guilty? Innocent or guilty, can Joe ever make amends for his part in her downfall?

    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.

    Presents the script of a 1988 play about a group of women in Chinquapin, Louisiana, who learn to draw upon their underlying strength and love to meet the challenges of life.

    Moon picks up eleven years after the events described in Long Day’s Journey Into Night, asJim Tyrone (based on O’Neill’s older brother Jamie) grasps at a last chance at love under the full moonlight. This paperback edition features an insightful introduction by Stephen A. Black, helpful to anyone who desires a deeper understanding of O’Neill’s work.

    A young countess saves her tenants from starvation, but only by selling her soul to the Devil. The sleepy parish of Nyadnanave sees a vision of a cockerel that dares the inhabitants to break the shackles of Church and State. All these plays were met with moral outrage and rioting in their native Ireland.Yeats's 'The Countess Cathleen' (1892), J. M. Synge's 'The Playboy of the Western World' (1907) and O'Casey's 'Cock-a-doodle Dandy' (1949) emerged from a period of traumatic change for Ireland. While the plays bear witness to the immmense social upheavals of the turn of the twentieth century, they also represent a new age of Irish drama that rose from the turmoil, and their lessons ring true to this day.