In her hands. A shattering play about one woman’s unspeakable decision. hang premiered at the Royal Court Theatre, London, in 2015, in a production directed by the author, and featuring Marianne Jean-Baptiste, Claire Rushbrook and Shane Zaza.

    This play by one of India's foremost playwrights and actors is based on a story from the Mahabharata which tellingly illuminates universal themes - alienation, loneliness, love, family, hatred - through the daily lives and concerns of a whole community of individuals.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    Hailed as "America's Alchemist," his proclamation that "debt is an asset" has propelled him to a dizzying level of success. By orchestrating the takeover of a massive steel manufacturer, Merkin intends to do the "deal of the decade," the one that will rewrite all the rules. Working on his broadest canvas to date, Pulitzer Prize winner Ayad Akhtar chronicles the lives of men and women engaged in financial civil war: insatiable investors, threatened workers, killer lawyers, skeptical journalists, and ambitious federal prosecutors. Although it's set 40 years in the past, this is a play about the world we live in right now; a world in which money became the only thing of real value.

    She doesn’t go to school and never leaves the flat by day. Sensing in each other a kindred spirit, the two become devoted friends. What Oskar doesn’t know is that Eli has been a teenager for a very long time…Jack Thorne's adaptation of Let The Right One In premiered in June 2013 at the Dundee Rep Theatre in a production by the National Theatre of Scotland, before transferring to London's Royal Court Theatre in November 2013.

    She is a successful writer, he is a revered columnist. They have a perfect understanding of each other. Until a pushy young female journalist—on assignment to profile Gus—quite deliberately seeks to undermine that understanding. The fallout is dreadful—but beautifully and convincingly portrayed in all its painful consequences.

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.

    Hope Springs is filled with rough and ready men. Can a family of damaged women bring true Hope to this desperate town?A carriage accident killed Lily’s parents and left her and her sisters disfigured or disabled. Now they are to be thrown from their home and their hopes of becoming mail order brides were dashed when the men turned them down because of their disabilities.Book 1 – The Scarred and Rejected Bride Lily knows this calls for desperate measures so she writes to one last man and does not mention her scars. Kit McFarlan wants a wife to control his three rowdy children. Lily will do. That is until he sees her scars. The wedding is off, but Lily and her sisters are a feisty bunch and Kit did not bargain for what comes next. Will Lily get her man or will the sisters be left out in the old? Book 2 – The Crippled Bride and the Orphaned Baby Maye was crippled in the carriage accident that killed her parents. How can she ever find love? What man could love a woman who is not even whole?A new man in town is struggling with his brother’s baby. The child’s parents were killed but Craig needs to work if he is to feed baby Constantine. How can he work and look after a baby? A chance meeting tells him he needs a bride and he asks Maye to marry him.“That was the most unromantic proposal ever,” Maye said but still she accepts.As Maye falls for the handsome cowboy she wonders how she can go on. Is this all there is to life?Danger and heartache threaten to tear the couple apart. Can they survive and find love?The books are sweet, clean, historical, western, romances.

    

    Its lyrical scenes still etch a portrait of Cyrano as a man of uncompromising bravery except in matters of the heart. They come off beautifully in the intimate off-Broadway-size Roundabout Theater. To the open minded, Langella's work will hardly seem felonious and it may be a breakthrough!" --David Patrick Stearns, U S A Today"Frank Langella has abridged the text and given the play a bare-bones production shorn of extravagance. CYRANO is compelling enough in its characterizations, dialogue and situations to withstand minimalism." --Frank Scheck, Hollywood Reporter"Frank Langella's adaptation is relatively short, fast and intimate. The speed of the shortened version allows the ideas behind the play to emerge with great force and clarity. The result is a terrifically enjoyable and surprising thought-provoking piece of theater." --Fintan O'Toole, Daily News, New York

    The tables turn when Marjorie is able to subdue Raul and keep him tied up in her fireplace. When Terry and Patricia, Marjorie's roommates, come home, they are shocked and begin discussing how to handle the situation: call the police or take matters into their own hands?

    It is time to rewrite the stories. We are no longer the hero’s love interest. Neither do we believe in happily ever after. We do not wish to dance to anybody else’s tunes. We choose our path. We make mistakes. We learn from them. We love. We lose. We age. We evolve. These are stories of women. Different women. For we cannot and should not stereotype women. These stories are of relationships. These stories touch upon social issues. These stories may inspire you. These stories make you feel like you are not alone. These stories may surprise you. These stories may entertain you. I hope everybody would be able to pick something they like.

    "An unflaggingly witty and often moving slice of life . . . Poor Super Man explodes on to the stage like a bold comic strip, complete with snappy captions and hard, bright, witty dialogue," writes the Edmonton Journal.

    But behind the gingham curtains, being a domestic goddess is not as easy as it looks.

    But without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg, and band together to get it done. Amidst the noise and color of Elizabethan London, THE BOOK OF WILL finds an unforgettable true story of love, loss, and laughter, and sheds new light on a man you may think you know.“THE BOOK OF WILL…unequivocally announces Gunderson as a playwright with whom to be reckoned. It is, quite frankly, one of the best plays I have ever seen. It will bring tears of both laughter and sorrow to all but the most jaded audience member’s eyes. It is, in a word, a triumph.” —Boulder Weekly (CO). “[Gunderson] has peopled the stage with lively, historically based characters…She paints a vivid portrait of the times in language sometimes formal, sometimes poetic and often…contemporary…She also gives a real feel for theater life and what it means to be an actor; you sense this is a work of both scholarship and love. …[THE BOOK OF WILL] serves as homage to those who sacrificed to make the first folio happen and to Shakespeare’s magnificent words.” —Westword (Denver, CO).