But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    Elyot and Amanda, once married and now honeymooning with new spouses at the same hotel, meet by chance, reignite the old spark and impulsively elope. After days of being reunited, they again find their fiery romance alternating between passions of love and anger. Their aggrieved spouses appear and a roundelay of affiliations ensues as the women first stick together, then apart, and new partnerships are formed.

    In a house just outside the village of Ballybeg live the five Mundy sisters, barely making ends meet, their ages ranging from twenty-six up to forty. The two male members of the household are brother Jack, a missionary priest, repatriated from Africa by his superiors after twenty-five years, and the seven-year-old child of the youngest sister. In depicting two days in the life of this menage, Brian Friel evokes not simply the interior landscape of a group of human beings trapped in their domestic situation, but the wider landscape, interior and exterior, Christian and pagan, of which they are nonetheless a part.

    On this six-part live performance series, bestselling author and beloved cantadora (keeper of the old stories) Clarissa Pinkola Estés shares the work of her lifetime: myths, tales, and poetry with the power to nourish and heal. Contained within Theatre of the Imagination are the great universal themes—tales of loss and resurrection; of love and sacrifice; of the courage to survive—yet it is as if Dr. Estés is speaking only to you. With words that weave in and out of the interior and exterior worlds, she creates an amazing fabric of the purest wisdom—fought for, won, and preserved to teach all generations—that which is most worth knowing. You will hear more than 40 original poems, archetypal insights, and dozens of strengthening stories from Dr. Estés' own family's oral traditions. Dr. Estés teaches that each story holds a key to a deeper self-knowing: "Stories cut fine wide doors in previous blank walls, openings that lead to the dreamland, that lead to love and learning that lead us back to our own real lives."Presented in her one-of-a-kind lyrical style, Theatre of the Imagination seats you in the front row at these performances of a lifetime. More than five hours of signature stories, plus earthy and wise advice, archetypal insights, poetry, and much more. Six Healing Stories Include: Las Tres Osas Viejas (The Three Old Ones)• The Fisherman's Wife• Skeleton Woman• The Crescent Moon Bear• Sealskin/Soulskin• Wolfen Learn More About:The cycles of life and death• How the language of symbols translates into everyday life• Community and healing the homesickness within the soul• How to stop your destructive inner critic• Reclaiming the bodies we were born with• Facing the cycles of change in a relationship• Agelessness and the aerial view of the elder• How to awaken the 1,000 eyes of your intuition• Transformation through the four vital steps to forgiveness• The power of the Divine Child• Finding courage and the sacred center of the psyche• When others try to silence you: how to claim your strength

    Benjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by amongst others their future biographer and a young man from the local bus station.You are a rent boy. I am a poet. Over the wall lives the Dean of Christ Church. We all have our parts to play.Alan Bennett's new play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion's spent: ultimately, on the habit of art. 'In the end,' said Auden, 'art is small beer. The really serious things in life are earning one's living and loving one's neighbour.'

    

    These “seven stories” lead to a charming and surprising ending.Cast of 2 women and 3 men.

    After a critically acclaimed Broadway premier and successful film adaptation (starring Nicole Kidman, Aaron Eckhart, and Diane West), Rabbit Hole has been hailed as an artistic breakthrough for the highly regarded Lindsay-Abaire. A drama of what comes after tragedy, it captures “the awkwardness and pain of thinking people faced with an unthinkable situation—and eventually, their capacity for survival.” -USA TodayDavid Lindsay-Abaire is the Pulitzer-winning author of Rabbit Hole, which was made into a feature film. He is the author of Good People, Fuddy Meers, Wonder of the World, A Devil Inside and Kimberly Akimbo, as well as the book and lyrics to Shrek the Musical. He has written the screenplays for Rabbit Hole, Rise of the Guardians and Oz: The Great and Powerful. Born in South Boston, he now lives in Brooklyn.

    Through deeply drawn characters—both real and in the form of artificial intelligence companions, or “Primes”—Harrison burrows into troubling questions of the digital age: What would we remember, and what would we forget, given the power of authorship? Will we be any less human, once computers know us better than ourselves?

    The game setting? A subdivision with identical houses. The goal? Smash through an army of zombies to escape the neighborhood for good. But as the line blurs between virtual and reality, both parents and players realize that fear has a life of its own. "Playing like a nifty episode of 'The Twilight Zone', the story builds to an affectingly grues

    I think this was a really, really great start.Five lost people come together at a community centre class to try and find some meaning in their lives. Counting to ten can be harder than you think. Over six tangled weeks their lives become knotted together in this tender and funny play.

    Who can it be? One by one the suspicious characters reveal their sordid pasts until at the last, nerve-shredding moment the identity and the motive are finally revealed.The Mousetrap is the longest-running play in the history of London's West End

    As a tour guide at Fustian House, one of the least stately of London's stately homes, she theatrically embellishes its historical past, ultimately coming up on the radar of Lotte Schon, an inspector from the Preservation Trust. Neither impressed or entertained by Lettice's freewheeling history lessons, Schon fires her. Not one however, to go without a fight, Lettice engages the stoic, conventionial Lotte in battle to the death of all that is sacred to the Empire and the crown.

    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.

    Even as children, Hope was always the talented one and Grace the smart one. Hope received the attention, the boyfriends, and the beautiful clothes; Grace received the hand-me-downs. The leftovers never bothered Grace, until it came to one boy. Her sister went through boyfriends and their affections like she did her clothes, carelessly tossing one aside in favor of another. Often left to stall her sister’s adoring public, Cruz Colton was the one boy Grace never objected to entertaining. As their friendship grew and Grace found herself falling for the boy with the quiet sense of humor, she began to imagine he really came to see her, and not her sister. But one fateful night changed that perception, and she realized his was only a hand-me-down heart, after all. Long ago, Grace banished thoughts of Cruz from her mind, even if her heart was reluctant to let his memory go.Ten years later, their paths cross again. Grace is living her dream as a registered nurse, Hope is a brilliant concert violinist, and Cruz has a distinguished career in the military. Recently discharged from service, Cruz checks in at Texas General Hospital where Grace works. And just like that, Grace’s heart picks up where it left off.She tells herself she’s over him. These sparks between them are nothing but leftover embers from bridges burned, a decade past. The adult Cruz is a changed, hardened man. The shadows in his dark eyes speak of hidden secrets and the horrors of war. Is Grace strong enough to help him battle his inner demons? And with Hope back in town, can Grace stand up to her sister’s domineering presence? Grace may have been content in the shadows as a girl, but she’s a woman now, and she knows what she wants. It’s time to let her own light shine, because Cruz Colton’s is definitely a hand-me-down heart worth fighting for.From the best-selling author of Texas General Cozy Cases of Mystery, The Sisters, Texas Series, and Forgotten Boxes, don’t miss this first book in the series!