It is an inspired study in moral uncertainty with the compellingly certain structure of an old-fashioned detective drama. Even as Doubt holds your conscious attention as an intelligently measured debate play, it sends off stealth charges that go deeper emotionally. One of the year’s ten best.”—Ben Brantley, The New York Times“[The] #1 show of the year. How splendid it feels to be trusted with such passionate, exquisite ambiguity unlike anything we have seen from this prolific playwright so far. Blunt yet subtle, manipulative but full of empathy for all sides, the play is set in 1964 but could not be more timely. Doubt is a lean, potent drama . . . passionate, exquisite, important, and engrossing.”—Linda Winer, NewsdayChosen as the best play of the year by over 10 newspapers and magazines, Doubt is set in a Bronx Catholic school in 1964, where a strong-minded woman wrestles with conscience and uncertainty as she is faced with concerns about one of her male colleagues. This play by John Patrick Shanley—the Bronx-born-and-bred playwright and Academy Award-winning author of Moonstruck—dramatizes issues straight from today’s headlines within a world re-created with knowing detail and a judicious eye. After a stunning, sold-out production at Manhattan Theatre Club, the play has transferred to Broadway.John Patrick Shanley is the author of numerous plays, including Danny and the Deep Blue Sea, Dirty Story, Four Dogs and a Bone, Psychopathia Sexualis, Sailor’s Song, Savage in Limbo, and Where’s My Money?. He has written extensively for TV and film, and his credits include the teleplay for Live from Baghdad and screenplays for Congo, Alive, Five Corners, Joe Versus the Volcano (which he also directed), and Moonstruck, for which he won an Academy Award for original screenplay.

    Sensual and poetic by the great Tennessee Williams.

    Tartuffe worms his way into Orgon’s household, blinding the master of the house with his religious "devotion," and almost succeeds in his attempts to seduce his wife and disinherit his children before the final unmasking.

    Gerardo Escobar has just been chosen to head the commission that will investigate the crimes of the old regime when his car breaks down and he is picked up by the humane doctor Roberto Miranda. But in the voice of this good Samaritan, Gerardo's wife, Paulina Salas, thinks she recognizes another man—the one who raped and tortured her as she lay blindfolded in a military detention center years before.

    Jacobs Theater, New York City, in March 2009.

    He's a straight-as-an-arrow lawyer and she's a free spirit always looking for the latest kick. Their new apartment is her most recent find-too expensive with bad plumbing and in need of a paint job. After a six day honeymoon, they get a surprise visit from Corie's loopy mother and decide to play matchmaker during a dinner with their neighbor-in-the-attic Velasco, where everything that can go wrong, does. Paul just doesn't understand Corie, as she sees it. He's too staid, too boring and she just wants him to be a little more spontaneous, running "barefoot in the park" would be a start...

    A moving and hilarious account of a spring day in a small Welsh coastal town, Under Milk Wood is "lyrical, impassioned and funny, an Our Town given universality" (The New Statesman and Nation).

    It has since been performed all over the world and is widely recognised as a classic of modern drama. A sharp and hilarious satire on political corruption, it concerns the case of an anarchist railway worker who, in 1969, 'fell' to his death from a police headquarters window.This version of the play was premiered in London in 2003.Commentary and notes by Joseph Farrell.Content: Dario Fo Plot Commentary Further reading Accidental death of an anarchist NotesQuestions for further study.

    Dowd starts to introduce his imaginary friend Harvey, a six and a half foot rabbit, to guests at a dinner party, his sister, Veta, has seen as much of his eccentric behavior as she can tolerate. She decides to have him committed to a sanitarium to spare her daughter, Myrtle Mae, and their family, from future embarrassment. Problems arise, however, when Veta herself is mistakenly assumed to be on the fringe of lunacy when she explains to doctors that years of living with Elwood's hallucination have caused her to see Harvey also! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion. When he shows up at the sanitarium looking for his lost friend Harvey it seems that the mild-mannered Elwood's delusion has had a strange influence on more than one of the doctors. Only at the end does Veta realize that maybe Harvey isn't so bad after all.

    Closer is hailed as one of the best plays of the nineties, and as the London Observer noted, it "has wired itself into the cultural vocabulary in a way that few plays have ever done."

    He writes lists, obsesses over the nature of time, and finds joy in bouncing balls--all in an effort to find out how best to live life. An utterly enchanting meditation on experience, Naive. Super was a #1 best-seller in Erlend Loe's native Norway.

    Separated from her father just moments after bursting from his skull in full armor, Anna is packed off into foster care where she learns to ski, speaks in tongues, and negotiates the needs of a quirky cast of relatives. Unable to overcome her father’s absence, however, she finally succumbs to depression and is institutionalized. Anna’s rallying war cry rings out across the pages of this concise and piercing novel as a passionate appeal for belonging taken to its emotional extreme.

    Devout court composer Antonio Salieri plots against his rival, the dissolute but supremely talented Wolfgang Amadeus Mozart. How far will Salieri go to achieve the fame that Mozart disregards? The 1981 Tony Award winner for Best Play. An L.A. Theatre Works full cast performance featuring: Steven Brand as Baron van Swieten James Callis as Mozart Michael Emerson as Salieri Darren Richardson as Venticello 2 Alan Shearman as Count Orsini-Rosenberg Mark Jude Sullivan as Venticello 1 Simon Templeman as Joseph II Brian Tichnell as Count Johann Kilian Von Strack Jocelyn Towne as Constanze Directed by Rosalind Ayres. Recorded in Los Angeles before a live audience at The James Bridges Theater, UCLA in September of 2016.

    A young lieutenant directs rehearsals of the Restoration comedy, The Recruiting Officer. With a cast of convicts, opposition from sadistic officers and a leading lady who is due to be hanged, Australia's first theatrical production is in trouble from the start.

    He has taken the ordinary West End drawing room comedy convention - understatement, upper-class accents and all - and used it as a vehicle for utterly serious ideas.' Observer