Alternating between their New York City apartment and a smoke-filled music club, Clifford narrates the story of his broken family and the decline of jazz as popular entertainment. Clifford recalls the key moments in his life, such as the day when he, fresh out of college, picked up his first unemployment check and was congratulated by Gene and his band mates. Gene's music career on the big band circuit ultimately crumbles with the advent of Elvis and rock-n-roll. Terry begs him to get a nine-to-five job to support the family, but Gene refuses to enter the "straight world" of regular paychecks, mortgages and security. For Gene, who knows jazz better than his own son, music is not just a job; it's his life. Their marriage slowly dissolves and young Clifford is witness to it all. As things worsen, Clifford assumes the role of parent and throws the hopeless Gene out of his mother's apartment. When an adult Clifford visits Gene in a rundown jazz club after years of separation, he requests that the old man play his mother's favorite song, the old standard "Why was I Born?" Clifford then asks, "Dad, why was I born?" It becomes Clifford's last, heart-breaking plea for his father's love.

    A nubile young actress wrestles with an aging Hollywood star for the affections of a renowned novelist. And everyone discovers just how disappointing love, art, and growing up can be. In this irreverent, contemporary, and very funny remix of Chekhov’s The Seagull, Aaron Posner stages a timeless battle between young and old, past and present, in search of the true meaning of it all. Original songs composed by James Sugg draw the famously subtextual inner thoughts of Chekhov’s characters explicitly to the surface. STUPID FUCKING BIRD will tickle, tantalize, and incite you to consider how art, love, and revolution fuel your own pursuit of happiness.

    Within days a connection had been made with the White House and President Nixon's closest aides. It unleashed one of the greatest scandals in modern American politics and ended with Nixon's humiliating resignation. David Frost's interviews with Richard Nixon drew the largest audience ever for a news interview. Could this British talk-show host, with no known political convictions and a playboy reputation, be the one to elicit an apology from the man who committed one of the biggest felonies in American political history? Frost/Nixon premiered at the Donmar Warehouse, London, in August 2006.

    

    As they prepare for a wedding, outside their living room the Iranian Revolution simmers and threatens to alter the course of their lives. Set over the course of 14 years, Sanaz Toossi’s timely world premiere play, directed by Gaye Taylor Upchurch, shines a light on the daring potential of friendship amid the relentless aftershocks of political upheaval. Directed by Gaye Taylor Upchurch

    

    Fishing, swimming, golf, tennis. Seems like the ideal location for a former secret agent posing as a retired police officer and part-time private investigator. Until people start disappearing. Suggested reading order for the Nicholas Colt series: COLT LADY 52 POCKET-47 CROSSCUT SNUFF TAG 9 KEY DEATH BLOOD TATTOO SYCAMORE BLUFF THE JACK REACHER FILES: FUGITIVE THE JACK REACHER FILES: VELOCITY (Novella) THE BLOOD NOTEBOOKS Note: Although published at a later date, the events in COLT and LADY 52 precede those in Jude Hardin's debut thriller POCKET-47. All of the books listed work as stand-alone thrillers, depending on reader preference. Nicholas Colt also appears in several short stories, including the one titled RATTLED and the one titled RACKED. Praise for Jude Hardin’s Thrillers: POCKET-47 sucked me in and held me enthralled. Author Jude Hardin keeps the pace frantic, the thrills non-stop, but best of all is his hero, the wonderfully ironic Nicholas Colt. This is a character I'm eager to follow through many adventures to come. —Tess Gerritsen, New York Times bestselling author of ICE COLD. The best PI debut I've read in years, fit to share shelf space with the best of Ross Macdonald, Sue Grafton, and Robert B. Parker. POCKET-47 is so hot you may burn your hands reading. Highly recommended. —J.A. Konrath, author of the Jack Daniels mysteries Hardin gets everything right in his powerhouse thriller debut, which introduces rock star–turned–PI Nicholas Colt. —Publishers Weekly on POCKET-47 KEY DEATH is an exhilarating thriller that punches way above its weight. It hits you hard and fast with crackling suspense, hair-raising twists and stunning revelations. Word of advice: don't start on this one unless you're prepared to stay up all night. —John Ling, author of THE BLASPHEMER Colt is a physical, no-holds-barred PI, reminiscent of Robert B. Parker's Spenser and Lee Child's Jack Reacher, and his debut is action-packed. With a hefty toll of dead bodies, some described in cringe-inducing detail, this is crime fiction at its rawest. Hard-boiled connoisseurs should make Colt's acquaintance now. —Booklist on POCKET-47 With CROSSCUT, Jude Hardin takes the PI novel and psychological suspense to a new, unrestrained level. Fast, fierce, and relentless. —David Morrell, New York Times bestselling creator of Rambo

    His hero-worshipping friend Warren has just impulsively stolen $15,000 from his father, an abusive lingerie tycoon. When Jessica, a mixed-up prep school girl, shows up for a date, Warren pulls out a wad of bills and takes her off, awkwardly, for a night of seduction. A wildly funny, bittersweet, and moving story, This Is Our Youth is as trenchant as it was upon its acclaimed premiere in 1996.

    MacLeod’s young protagonist enters all the bright open avenues of peer-group play and the dark blind alleys of individual and collective terror, as she discovers within herself both the capacity for and the conflict between impulses of good and evil. In thinking back on the history of her own tight-knit group of friends, she begins to see how in the excitement of belonging to a ritualized, secret collective, the self is created by the increasing dehumanization of the other—of both the bully and the victim. The Shape of a Girl goes far beyond a simple dramatization of the seemingly inexplicable code of silence and tacit complicity which surrounded the sensationalized Reena Virk murder in 1997 on which the play is based. It speaks eloquently and compassionately to a world increasingly dominated by all forms of collectivised and ritualized tribalist hatred, and offers the embrace of trust as the only way out of this circle of violence.Jewel is also based on a real-life catastrophe—the sinking of the Ocean Ranger, an oil rig off the coast of Newfoundland, on Valentine’s Day, 1982. Three years later, a widow, Marjorie Clifford, at home in her trailer in Fort St. John, British Columbia, begins to take the first step in understanding that the humanity of love, in all of its tentative frailty, uncertainty and promise, can free a life paralyzed and dominated by loss.

    The ship contains an experimental quantum device, lost while en route to a research colony on Europa. On Earth, powerful corporate forces are moving to resume unrestricted, inter-AI communications, their objective being to gain complete dominion over the colonized solar system. But the outer worlds are mobilizing to prevent them from achieving their objective, a fight back which is being led by Solomon, a sentient quantum intelligence (QI), also on Europa. However, once word of the crew’s discovery gets out, they soon realize that ownership of this technology could fundamentally change the balance of power within the solar system, and they now find themselves at the very nexus of a system-wide conflict. Their fight for survival plays out across the solar system, from the mining outposts of the asteroid belt to the moons of Jupiter and Saturn, and from the great Martian city of Jezero to the irradiated wastelands on Earth. This is an epic tale of humanity’s struggle for survival and meaning in a time when artificial intelligence has finally out-paced our own ability to control it. About The Belt: The story is set a century or so into the future where humanity has colonized most of the inner solar system. The asteroid belt (The Belt) is now a hive of mining activity and ships ply the trade routes to Earth and Mars. The technology depicted, for the most part, is what I consider to be technically plausible, although I do stretch it a little with quantum entanglement. That said, you won’t need a calculator or a slide-rule to enjoy the story.

    All are adaptations of his short stories of the same names.

    Combining investigative zeal and theatrical imagination with insider access, Oslo invites you into the chambers where the Oslo Accords between Israel and the Palestinian Liberation Organization were forged during nine fraught months in 1993.” — New York Times“A riveting political thriller. Oslo makes a complex historical event feel intimate and profoundly affecting.”— Associated Press“Gripping, big-boned and remarkably entertaining. Oslo feels excruciatingly necessary and timely.”—New York MagazineWhen the Israeli prime minister and the chairman of the Palestine Liberation Organization shook hands on the White House lawn in 1993, the world watched in awe. Oslo tells the story of the key people who orchestrated this momentous occasion, emphasizing the intricate (and sometimes comical) human journey that led to this historic event. The diplomats and politicians from Israel, Palestine, Norway, and America who participated in the behind-the-scenes discussions come to life in Rogers’ wonderfully complex characters. As much a story about people as politics, Oslo casts a bright light on the humans behind the history.Oslo premiered in the fall of 2016 in a sold-out run at Lincoln Center and opens on Broadway in April 2017.J.T. Rogers’ plays include Blood and Gifts, The Overwhelming, White People, and Madagascar. He was nominated for a 2009 Olivier Award for his work as one of the original playwrights for The Great Game: Afghanistan. He is a 2012 Guggenheim fellow in playwriting. Other recent awards include NEA/TCG and NYFA fellowships, the Pinter Review Prize for Drama, the American Theatre Critics Association’s Osborne Award, and the William Inge Center for the Arts’ New Voices Award.A politically charged drama from acclaimed playwright J.T. Rogers