In a series of elegant, nonchronological scenes spanning the years from 1946 to 2015, the play hopscotches through Mary Page Marlowe’s quiet existence as an accountant from Ohio—complicating notions of what it means to lead a “simple life.”

    A sympathetic werewolf, a vampire and an Egyptian princess brought to life when her tomb is opened make this a comedy that has everything."Far and away the funniest two hours on a New York stage....What more meaningful gift could Ludlam bequeath [audiences

    Moving from street corner to living room, from bedroom to kitchen, we meet the inhabitants of young, middle-aged, and old, glimpsing their socially and emotionally wretched lives, in this sharp, sad, funny, and angry play.

    A masterful poet of the downtrodden, his plays portray life on New York's hardscrabble streets in a manner both tender and unflinching, while continually exploring the often startling gulf between who we are and how we perceive ourselves. Gathered in this volume is his current off-Broadway hit, Our Lady of 121st Street, a comic portrait of the graduates of a Harlem Catholic school reunited at the funeral of a beloved teacher, along with his two previous plays: the philosophical jailhouse drama Jesus Hopped the A Train and In Arabia, We'd All Be Kings, an Iceman Cometh for the Giuliani era that looks at the effect of Times Square's gentrification on its less desirable inhabitants.

    It is an exploration of intimacy, identity, and the courage it takes to be who you really are.

    Louis in the mid-thirties––a lovely Sunday for a picnic at Creve Coeur Lake. But Dorothea, one of Tennessee Williams’s most engaging "marginally youthful," forever hopeful Southern belles, is home waiting for a phone call from the principal of the high school where she teaches civics––the man she expects to fulfill her deferred dreams of romance and matrimony. Williams’s unerring dialogue reveals each of the four characters of A Lovely Sunday for Creve Coeur with precision and clarity: Dorothea, who does even her "setting-up exercises" with poignant flutters; Bodey, her German roommate, who wants to pair Dotty with her beer-drinking twin, Buddy, thereby assuring nieces, nephews, and a family for both herself and Dotty; Helena, a fellow teacher, with the "eyes of a predatory bird," who would like to "rescue" Dotty from her vulgar, common surroundings and substitute an elegant but sterile spinster life; and Miss Gluck, a newly orphaned and distraught neighbor, whom Bodey comforts with coffee and crullers while Helena mocks them both. Focusing on one morning and one encounter of four women, Williams once again skillfully explores, with comic irony and great tenderness, the meaning of loneliness, the need for human connection, as well as the inevitable compromises one must make to get through "the long run of life."

    Poetry. Performance Studies. African & African American Studies. California Interest. Hybrid Genre. Winner of the 2016 Relentless Award from the American Playwriting Foundation. Introduction by Dawn Lundy Martin. Aleshea Harris' IS GOD IS is a classic revenge tale about two sisters that blends tragedy, typography, the Spaghetti Western, hip-hop and Afropunk. In this necessary new play, emotions are laid bare through gaps in language and characters are a window into the canon as well as our own broken times. A rigorous new work that unearths our deepest fears about humanity and who we think we are in relation to ourselves and the divine.--Dawn Lundy Martin Family, as the old tragedians knew, is our first country. Therefore, it's the earth from which we forge our first weapons, the fields of our first wars, the very turf over which we fight. With IS GOD IS, Aleshea Harris audaciously scours tragedy down with the rough edge of a rock. To read this merciless play is to get blood in your eye--and in Harris' sure grip, you'll recall that blood washes and stains, can run hot or cold, means both violence and family.--Douglas Kearney 3 Hole Press is a small press bringing new audiences to new plays in printed formats. The Press publishes titles that expand notions of what a play is, the possibilities that emerge for drama on the page, and the connection between plays and other mediums. Interdisciplinary by design, these books belong outside the drama section.

    Hold tight as the ordinary turns extraordinary in Mark O’Rowe’s exhilarating new play. A blackly comic vision of Dublin infested with demons, from the author of Howie the Rookie.

    In Michael Meyer's fluent, idiomatic translations, The Wild Duck and Hedda Gabler stand as masterpieces of naturalist drama.

    The dialogue crackles with hilarious, caustic putdowns as the indomitable Maggie deals with her feckless family and unwanted suitors. Everyone wants a part of Big Maggie and her property but she has other ideas.

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    Laugh with the actors, tap your feet to the music, and turn to your neighbor.

    This songbook contains easy piano arrangements of a dozen songs from Mel Brooks' Broadway blockbuster, the winner of a record 12 Tony Awards! Includes: Along Came Bialy * Der Guten Tag Hop-Clop * Goodbye! * Haben Sie Gehort Das Deutsche Band? * I Wanna Be a Producer * In Old Bavaria * Keep It Gay * Prisoners of Love * Springtime for Hitler * That Face * 'Til Him * When You Got It, Flaunt It.

    This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    Of his latest play, The New York Times has written, "Uproarious ... wall-to-wall laughs ... Mr. Busch has swum straight into the mainstream and stays comfortably afloat there." Busch is the author of such plays as Vampire Lesbians of Sodom -- one of the longest-running plays in Off-Broadway history -- and Psycho Beach Party, a cross between Gidget and Spellbound. After a successful Off-Broadway run at New York City's Manhattan Theater Club, Busch moves to Broadway with The Tale of the Allergist's Wife, a hilarious comedy about a self-absorbed Upper West Side doctor's wife whose life is devoted to mornings at the Whitney, afternoons at the Museum of Modern Art, and evenings at the Brooklyn Academy of Music. Her world is shaken and transformed when a childhood friend makes an unexpected visit.