Startling discontinuities and surprises erupt throughout these avant-garde landscapes by Poland's outstanding modern dramatist where duchesses and policemen, gangsters and surrealist painters, psychiatrists and locomotive engineers wander in and out, kill one another, and carry on philosophical conversations at the same time.

    The ghost of a young murdered girl flits through every scene linking the pain and anguish of all the characters struggling to cope with urban life.

    Both are struggling to escape from lingering parental domination and to establish their own lives and identities. In Janie's case this leads to an inconclusive involvement with a young Jewish doctor who calls her "Monkey"; while Harriet assails the world of big business and has an affair with her hard-driving (and married) boss. Told in a fast-moving series of inventive, alternately hilarious and touchingly revealing scenes, the play explores their parallel stories with uncommon wit and wisdom-resulting, ultimately, in a heightened awareness which, while not providing all the answers, goes a long way toward achieving the maturity and self-assuredness that both protagonists so desperately desire.

    Zarina has a bone to pick with the place of women in her Muslim faith, and she's been writing a book about the Prophet Muhammad that aims to set the record straight. When her traditional father and sister discover the manuscript, it threatens to tear her family apart. With humor and ferocity, Akhtar's incisive new drama about love, art, and religion examines the chasm between our traditions and our contemporary lives.

    The author's enthusiasm for and knowledge of the current theatre, highlighted by contemporary production shots from around the world, put the students in the front row.

    This new edition contains the updated book and lyrics from the smash Broadway production starring Neil Patrick Harris of John Cameron Mitchell and Stephen Trask’s landmark American musical.

    Features his compelling adaptation of Clytemnestra--finding an astonishing parallel between ancient Greek and modern Japanese society, Suzuki melds traditional and avant-garde techinques to shed new light on this primal tale.

    His career has spanned more than half a century, his lyrics have become synonymous with musical theater and popular culture, and in Finishing the Hat—titled after perhaps his most autobiographical song, from Sunday in the Park with George—Sondheim has not only collected his lyrics for the first time, he is giving readers a rare personal look into his life as well as his remarkable productions.Along with the lyrics for all of his musicals from 1954 to 1981—including West Side Story, Company, Follies, A Little Night Music and Sweeney Todd—Sondheim treats us to never-before-published songs from each show, songs that were cut or discarded before seeing the light of day. He discusses his relationship with his mentor, Oscar Hammerstein II, and his collaborations with extraordinary talents such as Leonard Bernstein, Arthur Laurents, Ethel Merman, Richard Rodgers, Angela Lansbury, Harold Prince and a panoply of others. The anecdotes—filled with history, pointed observations and intimate details—transport us back to a time when theater was a major pillar of American culture. Best of all, Sondheim appraises his work and dissects his lyrics, as well as those of others, offering unparalleled insights into songwriting that will be studied by fans and aspiring songwriters for years to come. Accompanying Sondheim’s sparkling writing are behind-the-scenes photographs from each production, along with handwritten music and lyrics from the songwriter’s personal collection. Penetrating and surprising, poignant, funny and sometimes provocative, Finishing the Hat is not only an informative look at the art and craft of lyric writing, it is a history of the theater that belongs on the same literary shelf as Moss Hart’s Act One and Arthur Miller’s Timebends. It is also a book that will leave you humming the final bars of Merrily We Roll Along, while eagerly anticipating the next volume, which begins with the opening lines of Sunday in the Park with George.

    In a woods, a field and a barn, they play, fight, fantasize and swagger. Their aggressions, fears, hostilities and rivalries are a microcosm of adult interaction. Easy going Willie tags along as burly Peter bullies Raymond and is challenged by fair minded Paul. Plain Audrey is overshadowed by Angela's prettiness and wreaks her anger on the boys. All of them gang up on the terrified "Donald Duck" who, abused by his mother and ridiculed by his peers, plays a dangerous game of pyromania with tragic results.

    The first part of what has come to be known as the Mercer Series, Leaving Home tells the story of a Newfoundland family that has emigrated and lost all sense of its place in the world.Leaving Home was named one of the "100 Most Influential Canadian Books" by the Literary Review of Canada.

    You need never go hungry again with these delicious, straightforward recipes for cooking and preparing ahead. Whether you want to make a three-course meal on Friday night for guests or have a few yummy family suppers ready in advance, with more than 100 recipes to choose from, Cook Now Eat Later is perfect for the busy home cook. As you would expect from Mary, the recipes are foolproof and easy-to-follow, and they include clear instructions on how to get one (or two or three!) steps ahead. With some dishes you'll be able to cook everything in advance, while others can be prepared ahead and assembled and then just cooked on the day. Find out when you can freeze to get ahead and when it's best to keep it fresh. Simple directions show you what to do to take all the stress out of cooking. Let Mary give you the confidence to plan ahead. With Cook Now Eat Later you can have the ideal dish for every occasion ready in no time.

    "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.

    The evening consisted of six Durang one act plays. It was directed by Walter Bobbie; set was by Derek McLane, costume by David C. Woolard, lighting by Brian Nason, sound design by Tony Meola; production stage manager was Perry Cline, stage manager was Greg Fletcher. Durang/Durang is an evening of six one acts. It is thus not a full length play, but it is a full evening.

    Forcibly sent there by a mother intent on keeping up appearances, Mary has to cope with both the shame and with the dawning realization that she will have to give the baby up for adoption.

    Is she the only mother who feels so permanently panic-stricken at the terrors of the modern world - or is it normal to sit up in bed all night popping bubble wrap? She worries that too much gluten and dairy may be hindering her children's mental arithmetic. She frets that there are too many cars on the road to let them out of the 4x4. Finally she resolves to take control and tackle her biggest worry of all: her daughter is definitely not going to fail that crucial secondary school entrance exam. Because Alice has decided to take the test in her place...With his trademark comic eye for detail, John O'Farrell has produced a funny and provocative book that will make you laugh, cry and vow never to become that sort of parent. And then you can pass it on to your seven-year-old, because she really ought to be reading grown-up novels by now...