This volume presents a comprehensive critical study of Samuel Beckett's first and most renowned dramatic work. Lawrence Graver discusses the play's background and provides a detailed analysis of its originality and distinction as a landmark of modern theatrical art. He also reviews some of the differences between Beckett's original French version and his English translation.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    He has two manuscripts but lacks the funds to publish both. His difficult decision--whether to publish his lover's memoir or the novel written by his best friend--is further complicated by the arrival of a mysterious machine that produces pages predicting the future of the play's protagonists, affecting their lives and relationships in haunting and unexpected ways. "The Violet Hour" opened on Broadway on November 6, 2003, starring Robert Sean Leonard.

    In a series of elegant, nonchronological scenes spanning the years from 1946 to 2015, the play hopscotches through Mary Page Marlowe’s quiet existence as an accountant from Ohio—complicating notions of what it means to lead a “simple life.”

    It is a revision of Thomas Killigrew's play "Thomaso", or "The Wanderer" (1664), and features multiple plot lines, dealing with the amorous adventures of a group of Englishmen and women in Naples at Carnival time. According to Restoration poet John Dryden, it "lacks the manly vitality of Killigrew's play, but shows greater refinement of expression." The play stood for three centuries as "Behn's most popular and most respected play."

    Its fourteen-year-old heroine Wendla is killed by abortion pills. The young Moritz terrorized by the world around him and especially by his teachers shoots himself. The ending seems likely to be the suicide of Moritz's friend Melchior but in a confrontation with a mysterious stranger (the famous Masked Man) he finally manages to shed his illusions and face the consequences.

    In this new Harper Paperback edition, all four shows are compiled into one phenomenally entertaining volume.Mambo Mouth (1991), Leguizamo's first show, was an off Broadway sensation. Leguizamo's portrayal of seven different Latino characters earned him both Obie and Outer Critics Circle awards. His follow up, Spic–O–Rama (1993), a "dysfunctional family comedy," presents 24–hours in the life of one family. It enjoyed a sold–out run in Chicago before relocating to New York where it won its creator a Drama Desk Award. Freak (1998), Leguizamo's Broadway debut, is his own coming–of–age story. A "demi–semi–quasi–pseudo–autobiography," the show was a critical and commercial success and won an Emmy when it was shown on TV. Sexaholix: A Love Story (2001), based on the sold–out national tour of John Leguizamo Live! was nominated for an Outer Critics Circle Award as well as a Tony Award.Alternately hilarious and poignant, always candid and searingly intelligent, The Works of John Leguizamo is a must–have for fans of this inimitable performer.

    She meets and joins up with Lloyd Bophtelophti, a true "original" who has changed his name to avoid alimony payments and who now lives with a paraplegic named Pootie (who also pretends to be deaf in order to get double disability). Thus begins a series of picaresque escapades involving numerous psychiatrists, a TV game show, and, eventually, an ill-fated reunion with her husband. Filled with bizarre characters and events, the play reflects the fractured lifestyles which have become the norm for so many in our tenuous times.

    Strongly influenced by cabaret and female drag, this exquisite rejection of shame and stereotype will punch you in the gut, break your heart and then take you dancing.

    Tired of writing cheap comedy gags for "Chipper the Chipmunk," a children's television star, Murray finds himself unemployed with plenty of free time with which to pursue his...pursuits. Lectured by his conventional brother Arnold and hounded by "the system," Murray is paid a visit by bickering, uptight social workers, Sandra and Albert, and finds himself solving their problems as well as most of his own."Would be a standout comedy in any season. Filled with laughter and warmth and sweetness and inspired daffiness. One of the quintessential New York comedies."-New York Daily News "An extraordinarily funny play with some brilliantly offbeat lines."-The New York Post

    Through a psychiatrist's analysis of the events, Shaffer creates a chilling portrait of how materialism and convenience have killed our capacity for worship and passion and, consequently, our capacity for pain. Rarely has a playwrite created an atmosphere and situation that so harshly pinpoint the spiritual and mental decay of modern man.

    Hold tight as the ordinary turns extraordinary in Mark O’Rowe’s exhilarating new play. A blackly comic vision of Dublin infested with demons, from the author of Howie the Rookie.

    

    Here indeed is a monumental Faust, an audacious man boldly wagering with the devil, Mephistopheles, that no magic, sensuality, experience, or knowledge can lead him to a moment he would wish to last forever. Here, in Faust, Part I, the tremendous versatility of Goethe’s genius creates some of the most beautiful passages in literature. Here too we experience Goethe’s characteristic humor, the excitement and eroticism of the witches’ Walpurgis Night, and the moving emotion of Gretchen’s tragic fate.This authoritative edition, which offers Peter Salm’s wonderfully readable translation as well as the original German on facing pages, brings us Faust in a vital, rhythmic American idiom that carefully preserves the grandeur, integrity, and poetic immediacy of Goethe’s words.

    This Pulitzer Prize-winning drama of life in the small village of Grover's Corners, an allegorical representation of all life, has become a classic. It is Thornton Wilder's most renowned and most frequently performed play.