From high-class hookers to 7/7 survivors these monologues paint a revelatory picture of Britain as it is today. After rave reviews at the 2008 Edinburgh Festival and in New York, "Eight" opened in London's West End in July 2009.

    This short play by Caryl Churchill was an entry in the 1997 London International Festival of Theatre.

    This is where they send the new, the under-qualified, the old. And most of all the British. Mars is full of blonde Americans. It's like they're building the master race out there.Billions of miles from home, the lone research base on Pluto has lost contact with Earth. Unable to leave or send for help, the skeleton crew sit waiting.Waiting.Waiting long enough for time to start eating away at them.To lose all sense of it.To start seeing things in the dark outside.Alistair McDowall's play X premiered at the Royal Court on 30 March 2016 in the Jerwood Theatre Downstairs.

    Manifesting Ridley's vivid and visionary imagination and the dark beauty of his outlook, the play resonates with his trademark themes: East London, storytelling, moments of shocking violence, memories of the past, fantastical monologues, and that strange mix of the barbaric and the beautiful he has made all his own.The Pitchfork Disney was Ridley's first play and is now seen as launching a new generation of playwrights who were unafraid to shock and court controversy. This unsettling, dreamlike piece has surreal undertones and thematically explores fear, dreams and story-telling. First produced in 1991, it has gone on to be recognised as the annunciation of Ridley's dark and seductive world.

    "You Got Older" is a tender and darkly comic new play about family, illness, and cowboys - and how to remain standing when everything you know comes crashing down around you.

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    Prodigal Son is pure, splendid Shanley: shaggily idealistic and always scratching a philosophical itch underneath jokes and banter." -- Davide Cote, Time Out New York“Shanley chooses characters stretched to the breaking point between rage and love… His are characters of obsessive passions who match those passions with hyper-melodic language.” --BOMB magazineWhen a troubled but gifted boy from the South Bronx arrives at a private school in New Hampshire, two faculty members wrestle with how to help him adjust to his new environment. The boy is violent, brilliant, alienated, and on fire with a ferocious loneliness. As with his Pulitzer Prize-winning play, Doubt, John Patrick Shanley has drawn on his personal experiences to create an explosive portrait of a young man on the verge of either salvation or destruction.John Patrick Shanley is the author of Doubt, a parable (Pulitzer Prize for Drama, Tony Award for Best Play), Outside Mullingar (Tony nomination for Best Play), Defiance, Storefront Church, Danny and the Deep Blue Sea, and Dirty Story, among many other plays. He wrote the teleplay for Live from Baghdad (Emmy nomination for Outstanding Writing of a Miniseries, Movie or Dramatic Special) and the screenplays for Congo, Alive, Five Corners, Joe Versus the Volcano, Doubt, a parable (Academy Award nomination for Best Adapted Screenplay) and Moonstruck (Academy Award for Best Original Screenplay).

    Ms. Herzog writes with keen sensitivity to the complex weave of feelings embedded in all human relationships, with particular attention to the way we tiptoe around areas of radioactive emotion." - New York Times"Whatever the ideal contemporary American drama is, it has to look a lot like The Great God Pan. It is provocative and subtle, slowly, carefully revelatory, sweetly moving, thought-provoking, funny and insightful." - New York Observer"An intelligent, delicately articulate writer." - Village Voice"A moving and unsettling look at the nature of identity and the vagaries of memory. With subtlety and compassion, Herzog contemplates how well we can really know ourselves." - BackstageJamie's life in Brooklyn seems just fine: a beautiful girlfriend, a burgeoning journalism career, and parents who live just far enough away. But when a possible childhood trauma comes to light, lives are thrown into a tailspin. Unsettling and deeply compassionate, The Great God Pan tells the intimate tale of what is lost and won when a hidden truth is suddenly revealed.Amy Herzog's plays include 4000 Miles (Pulitzer Prize finalist), After the Revolution and Belleville. Ms. Herzog is the recipient of numerous awards, including the Whiting Writers' Award, an Obie Award and the Helen Merrill Award for Aspiring Playwrights.

    As the action unfolds, the residents, ranging from young to old, from the defiant to the resigned, meet and talk and interact with each other during the course of one day. The drama is of passing events in their lives, of everyday encounters and of the human comedy, with conversations often overlapping into a contrapuntal musical flow. In the resulting mosaic each character emerges clearly and perceptively defined, and the sum total of what they are-or wish they were-becomes a poignant, powerful call to America to recover lost values and to restore itself in its own and the world's eyes.

    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.

    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

    Struggling to contain his men and the ambitions of his superiors, the commanding officer attempts to negotiate the unspoken rules of this alien country. He seeks to restore peace to a country ravaged by war. This is Scotland in the eleventh century at the height of the fight for succession of the Scottish throne.David Greig's Dunsinane premiered in February 2010 at Hampstead Theatre, London, in a production by the Royal Shakespeare Company.

    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.