Meanwhile, all's not well on the unassuming Midwestern streets of Bloggs: with local children vanishing at an alarming rate, our hero, his lady friend, and a motley assortment of poets, butchers, and punk librarians prepare to battle the darkness on the edge of town.

    This intense look at the dark side of American suburbia is a dark and provocative new play by award-winning playwright, screenwriter, and director LaBute.

    (doubling possible.) / 5 ints. or unit set. Recently revived on Broadway to great acclaim, this is the rollicking tale of three down and out troupers who decide to head for Hollywood and try their luck with the newly invented talkies. Due to a series of consistent blunders, the most stupid of the three is carried to pinnacles of fame and fortune until he's literally made a god of the industry. It's a fast paced and wild romp and a marvelous spoof of tinsel land.

    The play tells the story of Lincoln and Booth, two brothers whose names were given to them as a joke, foretelling a lifetime of sibling rivalry and resentment. Haunted by the past, the brothers are forced to confront the shattering reality of their future.

    Baker practices astonishing verbal magic over and over again." - Clancy Martin, Paris Review"Strikingly intimate... Free of the stilted or formal locutions that clutter up some of the more antique-sounding translations... Ms. Baker has given the play a natural but distinctly contemporary American sound." - Charles Isherwood, New York Times"Devastatingly beautiful... People are going to be talking about this one for years." - Jacob Gallagher-Ross, Village Voice"More than a modern-dress treatment of a classic work, it's a fresh rethinking of the material from the perspective of a modern mind." - Marilyn Stasio, VarietyAnnie Baker, one of the most celebrated playwrights in the United States, lends her truthful observation and elegant command of the colloquial to Anton Chekhov's despairing masterpiece Uncle Vanya. A critical hit in its sold-out Off-Broadway premiere, Baker's telling is a refreshingly intimate and modern treatment of a Chekhovian classic.Annie Baker's plays include The Flick (The Susan Smith Blackburn Prize, Obie Award), The Aliens (Obie Award), Circle Mirror Transformation (Obie Award) and Body Awareness. Her work has been produced at more than a hundred theaters in the U.S. and in more than a dozen countries internationally. Recent honors include a Guggenheim Fellowship, Steinberg Playwright Award and New York Drama Critics Circle Award. She is a resident playwright at the Signature Theatre.

    But when Luke is hospitalized in a tragic accident, Adam must come face-to-face with Luke's faith and his family.

    Four boats. One Grand Canyon. MEN ON BOATS is the true(ish) history of an 1869 expedition, when a one-armed captain and a crew of insane yet loyal volunteers set out to chart the course of the Colorado River.

    He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

    The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.

    He enlists the aid of his lifelong buddy, Aldo Scalicki, a confirmed bachelor who tries, without apparent success, to convince Huey that he would be better off sticking with his new lady friend, Teresa, a usually placid young waitress whose indignation flares when she learns what Huey is up to. In a moonlit balcony scene (hilariously reminiscent of Cyrano de Bergerac) Aldo pleads his lovesick friend's case and, to his astonishment, Janice capitulates although not for long. However we do learn that her earlier abuse of Huey was intended to make him "act like a man" which, at last, he does. And, more than that, he (and the audience) become aware that, in the final essence, "the greatest and only success is to be able to love" a truth which emerges delightfully from the heartwarming, wonderfully antic and always imaginatively conceived action of the play.

    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.”

    Amy is curled up on the locker room floor. DRY LAND is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.

    The title character, here called Pippin, is a naive, inexperienced young man looking to make his mark in the world. He seeks glory and personal fulfillment first as a soldier, then as a lover, and finally as a revolutionary leader promoting progressive social ideas. After every attempt at success has left him disappointed and frustrated, until he is on the brink of utter despair, Pippin finds himself attracted to the widow Catherine and her young son. Ultimately, he is given a choice between either performing a single great deed that will bring him instant fame and glory but just as instantly cut short his young life, or settling for a long, comfortable, but mediocre existence as a domestic non-entity taking care of his sweet but completely unremarkable family.

    Now he presides over a congregation of thousands, with classrooms for Sunday School, a coffee shop in the lobby, and a baptismal font as big as a swimming pool. Today should be a day of celebration. But Paul is about to preach a sermon that will shake the foundations of his church’s belief. A big-little play about faith in America—and the trouble with changing your mind.- See more at: http://actorstheatre.org/shows/the-ch...

    . . Dying City is a political play and also a psychodrama about what Arthur Miller called the politics of the soul. It’s about public conscience and private grief, and real and symbolic catastrophes.”?The New York Observer “Anyone who doubts that Mr. Shinn is among the most provocative and probing of American playwrights today need only experience the . . . sophisticated welding of form and content that is Dying City.”?The New York Times In Christopher Shinn’s new play Dying City, a young therapist, Kelly, whose husband Craig was killed while on military duty in Iraq, is confronted a year later by his identical twin Peter, who suspects that Craig’s death was not accidental. Set in a spare downtown-Manhattan apartment after dark, scenes shift from the confrontation between Peter and Kelly, to Kelly’s complicated farewell with her husband Craig. Shinn’s creepy, sophisticated drama?infused with references to 9/11 and the war in Iraq?explores how contemporary politics and recent history have transformed the lives of these three characters. Christopher Shinn was born in Hartford, Connecticut, and lives in New York. His plays include Where Do We Live, Other People, What Didn’t Happen, and On the Mountain, which have been widely produced in New York, across the United States, and in London. He is the recipient of an OBIE Award in Playwriting, as well as the Robert S. Chesney Award. He teaches playwriting at The New School for Drama.