Eisenberg will star in the New York production of The Spoils in the Spring of 2015, directed by Scott Elliott for the New Group’s inaugural season at the Pershing Square Signature Center.Nobody likes Ben. Ben doesn't even like Ben. He’s been kicked out of grad school, lives off his parents’ money, and bullies everyone in his life, including his roommate, an earnest Nepalese immigrant. When Ben discovers that his grade school crush is marrying a straight-laced banker, he sets out to destroy their relationship and win her back. The Spoils is a deeply personal and probing comedy written by one of America’s most interesting writer-thespians.

    Right is much easier said than done. While surrounding himself with his close group of girlfriends it comes to pass that the only thing harder than looking for love is supporting the loved ones around you. From the critically acclaimed writer who brought you Bad Jews.

    She meets the women of Lockerbie, who are fighting the U.S. government to obtain the clothing of the victims found in the plane s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim s families. THE WOMEN OF LOCKERBIE is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate. Winner of the silver medal in the Onassis International Playwriting Competition and the Kennedy Center Fund for New American Plays award.

    . . . Mr. Eno's voice, which teases out the poetry in the pedestrian and finds glinting humor in the static that infuses our faltering efforts to communicate, is as distinctive as any American playwright's today."—The New York Times"Weird and wonderful . . . Eno's familiar sudden-shifting between profound and playful verbiage is delightfully disarming and sometimes awfully funny."—VarietyA wonderfully moving new play by the Pulitzer Prize–finalist author of Thom Pain (based on nothing).Meet Bob and Jennifer and their new neighbors John and Pony, two suburban couples who have more in common than their identical last names. Boasting the playwright's quintessential existential quirkiness, this new comedy finds poetry in the banal while humorously exploring our ever-floundering efforts at communication. Listed as one of New York Times's Best Plays of 2012, The Realistic Joneses will receive its Broadway premiere in spring 2014 starring Toni Collete, Michael C. Hall, Tracy Letts and Marisa Tomei.Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include Middletown, The Flu Season, Tragedy: a tragedy, Intermission, and Gnit, an adaptation of Henrik Ibsen's Peer Gynt. His many awards include the PEN/Laura Pels International Foundation for Theatre Award, the Horton Foote Prize, and the first-ever Marian Seldes/Garson Kanin Fellowship by the Theater Hall of Fame.

    It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe.Mike Bartlett's contemporary and directed dialogue combines a strong sense of humanity with epic ambition, as well as finely-aimed shafts of political comment embedded effortlessly into every scene. Earthquakes in London represents modern playwriting at its most exciting and ambitious.It's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone…. You were the glimmer. At the end of the tunnel. And you went out.

    Unfortunately, her imaginary friend Mr. Marmalade doesn't have much time for her. Not to mention he beats up his personal assistant, has a cocaine addic-tion, and a penchant for pornography and very long dildos. Larry, her only real friend, is the youngest suicide attempt in the history of New Jersey. MR. MARMALADE is a savage black comedy about what it takes to grow up in these difficult times.

    Through the skillfully disarming use of clichéd language and homilies, the play explores with subtle grace and depth the way the death of a child tears one family apart, while showcasing the talents of a promising young playwright who "in [a] very modern way [is] making a rather old-fashioned case for the power of the written word" (Jason Zinoman, The New York Times).Fresh from its critically acclaimed off-off-Broadway run this past spring, God's Ear moves off-Broadway to the Vineyard Theatre in April 2008.

    With Steffy, his sometime paramour, at his side, Herb decides to take another stab at fatherhood and hopefully this time, get it right.

    "The two rooms of the title are a windowless cubicle in Beirut where an American hostage is being held by Arab terrorists and a room in his home in the United States which his wife has stripped of furniture so that, at least symbolically, she can share his ordeal."Two Rooms received its world premiere at the La Jolla Playhouse in California on June 21, 1988. The cast is two men and two women.

    A once-promising novelist, she announces to her family the imminent publication of a memoir dredging up a pivotal and tragic event in the family's history - a wound that her parents don't want reopened.Brooke has come home to draw a line in the sand and is daring her family to cross it. Her brother won't play her game; her aunt knows way too much, and her parents fall into all their old routines as they plead with her to keep their story quiet. In this family, secrets are currency and everyone is rich.In simplest terms, the play is about a girl who comes home to the desert with a story about where she is from, who her people really are, what she thinks they really are. Her parents represent an Establishment that she feels has betrayed this country. She goes to war with them, and blood is spilled.

    They illuminate as with a flash of lightning a deadly serious problem--and they bring an eloquent and exceptionally powerful voice to the American theatre.Dutchman opened in New York City on March 24, 1964, to perhaps the most excited acclaim ever accorded an off-Broadway production and shortly thereafter received the Village Voice's Obie Award. The Slave, which was produced off-Broadway the following fall, continues to be the subject of heated critical controversy.

    Greg's career as a financial trader is winding down, while Kate's career, as a public-school English teacher, is beginning to offer her more opportunities. Greg brings home a dog he found in the park or that has found him bearing only the name "Sylvia" on her name tag. A street-smart mixture of Lab and Poodle, Sylvia becomes a major bone of contention between husband and wife. She offers Greg an escape from the frustrations of this job and the unknowns of middle age. To Kate, Sylvia becomes a rival for affection. And Sylvia thinks Kate just doesn't understand the relationship between man and dog. The marriage is put in serious jeopardy until, after a series of hilarious and touching complications, Greg and Kate learn to compromise, and Sylvia becomes a valued part of their lives.

    Just before his works are celebrated at an exhibition in London, Jonathan journeys to the village where his former lover, Patricia, lives with her British husband, Nick. Archaeologists working on a dig, their spare existence is spent sifting through a Roman rubbish heap to discover the past. In their cold, remote house, Jonathan discovers an early painting of Patricia he'd done when they were young lovers. The subsequent struggle for the painting embodies the unreconciled passions of the past. Patricia has never forgiven Jonathan for leaving her, Nick despises Jonathan and the kind of art he produces, and Jonathan has never been able to recapture the inspiration and purity he felt when he painted Patricia. In taut scenes that dart from past to present and back, the characters are forced to deal with the unanswerable question of anti-Semitism, the legacy of the Holocaust and assimilation, the sadness of lost love, the role of the artist and the location of the human soul at the end of a ragged century.

    A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

    Someone - or something - is leaving bite marks in the avocados, Clay and Kelly's little daughter has an itch, and Carol can't remember who played Gandhi. This work takes a look at phoney liberal values.