There is literally no crime, and the houses don't even need locks on the doors. David and Mary are thoroughly investigated and approved, but as part of the requirements to move in, they must surrender all of their considerable assets with the understanding that if they decide to leave, everything will be returned to them. Architect David is ecstatic when given the assignment of designing the new city, and the children love their new school and quickly make friends. Only Mary is unhappy. She soon rebels against the strict rules for women; no makeup, no hair color or haircuts, and worst of all, no birth control. When she begins trying to persuade David to leave, she falls victim to a series of accidents and starts to wonder if her husband is in on a plot to kill her. His new assistant is a beautiful young widow, and he seems overly fond of her. With only one friend, Mary wonders who she can really trust. Convinced that someone is coming into her home when she is away, she begins to investigate and discovers bugs planted in the house, including the bathrooms and bedrooms. Living with the knowledge that every day could be her last, Mary realizes that it was much easier to get into New Jordan than it will be to get out. One of the things her probing uncovers is that no one has ever left there alive.

    R. Gurney has wittily captured the manners of upper-middle-class WASP America, but never as gracefully or with such dazzling economy as in Love Letters. Tracing the lifelong correspondence of the staid, dutiful lawyer Andrew Makepeace Ladd III and the lively, unstable artist Melissa Gardner, the story of their bittersweet relationship gradually unfolds from what is written--and what is left unsaid--in their letters. A smash hit both off and on Broadway, Love Letters captures Andy and Melissa with a precision of detail and depth of feeling that only Gurney can command. Two other, thematically related plays by Gurney, The Golden Age and What I Did Last Summer, are included, providing a trio of wry and affectionate paeans to love lost, found, and fleetingly glimpsed.

    A short critical essay which considers the significance of the title.

    On the run, he holes up in a sheltered barrio on a bluff above the Pacific Ocean owned by his wealthy but unsympathetic father. Here he meets Sweets, the telepathic dog, laments the loss of Sofia, his madhouse lover, and plays the horses at the Del Mar Racetrack. Eventually he meets up with an old friend, Shelly Hubbard, a fellow horseplayer, record collector/dealer, and hardcore loner, who tells him about his brother, Donny, dead at the age of eighteen from a tragic dive off a thirty-foot La Jolla sea cliff known as the Clam. Eddie discovers a family secret and wants to help, but by then he's already embroiled in the psychotic incident with the Tijuana prostitutes, the madhouse lover, and the police, who are hot on his tail. Mr. Toad's Wild Ride has nothing on Whirlaway, a hilarious novel of escaped mental patients, horseplayers, and record collectors.

    But never has he blended these disparate elements into such a brilliantly cohesive whole as he has in Lips Together, Teeth Apart,hailed by Frank Rich of the New York Times as McNallys"most ambitious and most accomplished play yet."At the heart of this haunting play is a dramatically incisive portrait of two married couples - the Trumans and the Haddocks. Uncomfortable with themselves and each other, they are forced to spend a Fourth of July weekend at the Fire Island house that the brother of one of the women left his sister when he died of AIDS. Though the house is beautiful, it is as empty as their lives and marriages have become, a symbol of their failed hopes, their rage, their fears, and of the capricious nature of death. Acerbic and haunting, Lips Together, Teeth Apart probes the stifledlives of people and their prejudices with a stunning clarity that resonates long after.

    Frank Baum's The Wonderful Wizard of Oz. The production called for the casting of many dwarfs to play the Munchkins of the mythical Land of Oz and the studio began recruiting 'small persons' from all over the world. During production, rumours spread around Hollywood of wild Munchkin sex orgies, drunken behavior and general dwarf debauchery. More sinisterly, a Munchkin is said to have committed suicide by hanging himself on the set during filming - what appears to be a small human body is clearly visible hanging from a tree in the Tin Man scene. It is a claim that has passed into Hollywood legend. Set in a hotel room in Culver City, California, Babylon Heights is Irvine Welsh and Dean Cavanagh's scabrous and hilarious imagining of what could, very possibly, have led to that dwarf suicide. Babylon Heights premiered at the Exit Theatre, San Francisco, in June 2006.

    It premiered in London, in 1980 and won the Society for West End Theatres (SWET) award for Best Comedy of the Year. It was made into a highly successful film with Michael Caine and Julie Walters and won the 1983 BAFTA award for Best Film.Commentary and notes by Steve Lewis.

    As a blizzard rages outside, a lonely figure, Henry Harry, lies sleeping under a heap of blankets. Suddenly, he is awakened by the insistent knocking of an unexpected visitor who turns out to be Rosannah DeLuce, a distraught young woman who has fled all the way from Arizona to escape her impending marriage, and who bursts into the cabin dressed in full bridal regalia. Exhausted, she throws herself on Henry's mercy, but after sleeping for two days straight, her vigor and combativeness return. Both characters, it develops, have been wounded and embittered by life, and both are refugees from so-called civilization. Thrown together in the confines of the snowbound cabin, they alternately repel and attract each other as, in theatrically vivid exchanges, they explore the pain of the past and, in time, consider the possibilities of the present. In the end their very isolation proves to be the catalyst that allows them to break through the web of old griefs and bitter feelings that beset them both and to reach out for the solace and sanctuary that only hard-won understanding, self-awareness and compassion for the plight of others can bestow.

    Gale has fashioned a spare but powerful tale that thrusts the indignities of slavery and the stupidity of racism out of the murky 18th century and into the here and now.—Martin Morrow, Calgary Herald

    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.

    Esme Allen is a well-known West End actress at just the moment when the West End is ceasing to offer actors a regular way of life. The visit of her young daughter, Amy, with a new boyfriend sets in train a series of events which only find their shape sixteen years later.David Hare's new play, which mixes love, death, and the theatre in a heady and original way, was sold out at the National Theatre, and transferred to the West End in January 1998.This is the definitive version of Amy's View.

    A perfect evening of comedy. Scenes Include:ACT ONEWord Dance (Part One)The Night the Bed FellFables for Our Time (Part One)The Wolf at the DoorThe Unicorn in the GardenThe Little Girl and the WolfIf Grant Had Been Drinking at AppomattoxCasuals of the KeysThe Macbeth Murder MysteryGentleman ShoppersThe Last FlowerACT TWOThe Pet DepartmentFile and ForgetMr. Preble Gets Rid of His WifeTake Her Up TenderlyThe Secret Life of Walter MiddyWord Dance (Part Two) Only material authorized for the production of this play may be used."Of belly laughs there is abundance...Small, cozy, and completely captivating revue...a sheer delight... joyous, magnificently lunatic festival" - New York Daily News

    Scientists referred to the event as The Anomaly. A byproduct of The Anomaly was the advent of hybrid beings—people who became mixed with whatever animal or object was closest to them the moment the event occurred. Humans, or pedigrees, soon relegated fairy refugees and hybrids into ghetto zones in large cities.Seventy years later, Wolfgang Rex, a second-generation hybrid—part human, part Rhodesian Ridgeback—is a retired police detective who runs a private investigation business in Chicago’s Southside. It’s a one-hybrid show; though Rex couldn’t survive without his assistant, the faerie Sally Sandweb.One night, two vampires visit Rex and offer him a substantial reward for the recovery of a stolen scroll. Later that same evening, Charlotte Sweeney-Jarhadill, a pedigree woman from Louisiana, visits Rex and hires him to exorcize the headless ghost of a Confederate soldier from her home.To complicate matters, the private detective ends up falling for Charlotte. Meanwhile, the vampires demand results in the search for the missing scroll. When Rex’s assistant Sally goes missing, he must stay alive long enough to find her. Charlotte and the vampires, however, have other plans for Rex.

    A world that is glamorous and alluring can blind its participants to certain truths. This euphoric illusion which is full of money, women, and power, can also be deceiving. You start to believe that the fame will last forever. That the people around you are really your friends, and that the scandalous woman at your side really loves you for the person that you are. Stardom can become dangerous for the naïve souls who rise to success without armor. Tangie, who has mastered The Art Of Deceit slithers her way into the heart of many and into the wallets of even more, her latest victim being Hip Hop’s newest sensation Tay’von-Too Fine- Miller. Tay’von is told by his record label that he needs a better looking woman on his arm because the public will deem his plus size girlfriend unbefitting for a rising star. So he pulls Tangie into his world hoping to use her for her looks, only to get rid of her when he is done. But he has highly underestimated her. Her charm is hypnotic, that of a snake charmer, and as strong as the magic from a voodoo priest. Once she has cast her spell, she is sure to bring any man or woman down to their knees. She rules with a blackened heart and shows no mercy to people like Shamika, the spiteful girlfriend of equally talented but not as successful rapper Black Dialect. Tangie will stop at nothing to secure her lifestyle, even if that means shaking hands with a record label owner who Tay’von has proclaimed a sworn enemy. Carmello wants Tay’von to sign to his record label, and Tangie wants revenge. Together they hatch a plan that will give them both what they want. What will happen when Tay’von, his bodyguard, the sexy R&B tour mate Amira, and Carmello all fall under Tangie’s spell? Death, Debauchery, and Deceit, now if only everything would go as planned.

    Or a reckless act?What makes a good mother? Maddie feels there's no such thing, and while her own style may be controversial, it works for her family and that's all that matters.Until one day she makes a fateful decision that has devastating consequences for another parent, and suddenly the world is lining up to vilify her.As the court of public opinion closes in, now she must defend every parental choice she's ever made - in a court of law.But this is not just a trial; it's a witch hunt - and everybody has an opinion.Is she a terrible mother? Or faced with the choice, might you have done the same?