Son's story is deceptively simple: two young women in New York meet, talk about their boyfriends, feel a growing, unspoken attraction for each other, and finally kiss. And that one innocent kiss sets off a savage gay-bashing. But even as Stop Kiss confronts the reality of physical violence, Son's imaginative, moving, and surprising comedy brings audiences -- and her principal characters -- to unexpected places.Callie is holding down a job as a radio traffic reporter when she meets Sara, a midwesterner who, against her parents' wishes, has moved to the city to teach third-grade students in the Bronx. Both have boyfriends, but as they get to know each other, their shared experiences and sense of humor create a strong bond. The tragic consequences of their kiss -- the center of this powerful drama -- serve as both an indictment of hatred and a moving study of the perils inherent in living life fully.

    His best friend is too burnt out to provide any coherent speculation; his sister has gone goth; his ex-girlfriend has recently been institutionalized; and his other friends are too inebriated to give him any sort of solace. But a chance meeting with an artistic kid, the target of this group's bullying, offers CB a peace of mind and sets in motion a friendship that will push teen angst to the very limits. Drug use, suicide, eating disorders, teen violence, rebellion and sexual identity collide and careen toward an ending that's both haunting and hopeful.

    Best friends. At least they used to be. But a year ago Sam cut Charlie out of his life--no explanation, no discussion, nothing. Fast-forward one year, and both Sam's and Charlie's lives are spiraling out of control. Sam has a secret he's finding harder and harder to hide, and Charlie is dealing with an increasingly absent dad and a dealer whose threats are anything but empty. As told in alternating chapters from Sam and Charlie during the sticky Florida summer before their senior year, the ex-best friends are thrown together once again when they have no one else to turn to. P. E. Ryan's Saints of Augustine is a witty, enthralling, and unforgettable novel about the power of friendship.

    I'm sixteen (just) and I have two remarkably undivorced parents, along with a sister and a grandmother and we all live in the same house together just like in a TV show. I've just started my A levels too, which me and Al are planning to fail, which is our way of saying Fuck You to the British educational standard.So what if your parents hate each other and want you to have therapy? So what if your holier-than-thou sister and her posse have decided you're going to hell? So what if the school tyrant and his goons are hunting you down, or if your best friend has just outed you to a neo-Nazi? Jaz isn't planning to lose any sleep over it -- at least until he meets the guy of his dreams at the local gay bar. Suddenly things are a lot more complicated...Witty, acerbic, and incredibly funny, My Side of the Story is the perfectly rendered portrait of a precocious, troubled teenager faced with the awkward process of growing up and coming out.

    In a dark corner of the best bar in the city, two lovers fall into each other's arms. The bar has been called many names, but it is now known simply as The Bar. Its proprietor is the aging, still glamourous Madame. Its clientele is gay. The two who fall in love are Boy, a beautiful nineteen-year-old, and the handsome, forty-something "Older Man" referred to as "O" by the regulars of The Bar. This is the story of Boy's and O's courtship and marriage, of Madame's role in the affair, and of the man called "Father," who threatens to come between them. Searingly honest in its deception of gay culture and ritual, this gripping novel is at once a moving celebratiion of love and a stark picture of life for gay men today.

    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."

    Sweeping all major theater awards, including the 1996 Pulitzer Prize for drama, as well as four 1996 Tony Awards including Best Musical, Best Book, and Best Score for a Musical, Rent captures the heart and spirit of a generation, refleting it onstage through the emotion of its stirring words and music, and the energy of its young cast. Now, for the first time, Rent comes to life on the page -- through vivid color photographs, the full libretto, and an utterly compelling behind-the-scenes oral history of the show's creation. Here is the exclusive and absolutely complete companion to Rent, told in the voices of the extraordinary talent behind its success: the actors, the director, the producers, and the librettist and composer himself, Jonathan Larson, whose sudden death, on the eve of the first performance, has made Rent's life-affirming message all the more poignant.

    Neil McCormick is fully aware of the events from that summer of 1981. Wise beyond his years, curious about his developing sexuality, Neil found what he perceived to be love and guidance from his baseball coach. Now, ten years later, he is a teenage hustler, a terrorist of sorts, unaware of the dangerous path his life is taking. His recklessness is governed by idealized memories of his coach, memories that unexpectedly change when Brian comes to Neil for help and, ultimately, the truth.

    . . . A tragic and hilarious vision of life in an English country community. Butterworth’s new work was the most talked about new work of the season."—The London Paper

    The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

    But the letters are not the real reason for Tristan's visit. He can no longer keep a secret and has finally found the courage to unburden himself of it. As Tristan recounts the horrific details of what to him became a senseless war, he also speaks of his friendship with Will - from their first meeting on the training grounds at Aldershot to their farewell in the trenches of northern France. The intensity of their bond brought Tristan happiness and self-discovery as well as confusion and unbearable pain. The Absolutist is a masterful tale of passion, jealousy, heroism, and betrayal set in one of the most gruesome trenches of France during World War I. This novel will keep readers on the edge of their seats until its most extraordinary and unexpected conclusion, and will stay with them long after they've turned the last page.

    A transvestite and celebrated antiques dealer who successfully navigated the two most oppressive regimes of the past century-the Nazis and the Communists--while openly gay and defiantly in drag, von Mahlsdorf was both hailed as a cultural hero and accused of colluding with the Stasi. In an attempt to discern the truth about Charlotte, Doug Wright has written "at once a vivid portrait of Germany in the second half of the twentieth century, a morally complex tale about what it can take to be a survivor, and an intriguing meditation on everything from the obsession with collecting to the passage of time" (Hedy Weiss, Chicago Sun-Times).

    Escaping into her research, Constance decodes the Gustav Manuscript, and discovers a pair of comedies that she believes are the source for Shakespeare's Othello and Romeo and Juliet. Transported into the world of her theory, she comes face-to-face with Desdemona and Juliet and discovers that, far from shrinking violets, they are hellions full of surprises. What follows is a riotous retelling of theatrical legend that brings Constance out of her gloom and straight into a new and confident self.

    In the play, Martin—a hugely successful architect who has just turned fifty—leads an ostensibly ideal life with his loving wife and gay teenage son. But when he confides to his best friend that he is also in love with a goat (named Sylvia), he sets in motion events that will destroy his family and leave his life in tatters.The playwright himself describes it this way: “Every civilization sets quite arbitrary limits to its tolerances. The play is about a family that is deeply rocked by an unimaginable event and how they solve that problem. It is my hope that people will think afresh about whether or not all the values they hold are valid."

       The Beauty Queen of Leenane was first presented as a Druid Theatre/Royal Court Theatre co-production in January 1996.