Through the dramatic characterization of the famous physicist, Brecht examines the issues of scientific morality and the difficult relationship between the intellectual and authority. This version of the play is the famous one that was brought to completion by Brecht himself, working with Charles Laughton, who played Galileo in the first two American productions (Hollywood and New York, 1947). Since then the play has become a classic in the world repertoire. "The play which most strongly stamped on my mind a sense of Brecht's great stature as an artist of the modern theatre was Galileo." - Harold Clurman; "Thoughtful and profoundly sensitive." - Newsweek.

    She meets the women of Lockerbie, who are fighting the U.S. government to obtain the clothing of the victims found in the plane s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim s families. THE WOMEN OF LOCKERBIE is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate. Winner of the silver medal in the Onassis International Playwriting Competition and the Kennedy Center Fund for New American Plays award.

    

    Set in a small Mississippi town, the play examines the lives of three quirky sisters who have gathered back home. During the course of the week the sisters unearth grudges, criticize each other, reminisce about their family life, and attempt to understand their mother's suicide years earlier.

    Ferdinand, the king of Navarre, insists that his court join him in a pledge to undertake a strict regimen of study and celibacy. The grudging compliance of three noblemen is sorely tested — as is the king's own resolve — with the arrival of a French princess and a trio of comedy attendants.

    The classic play about Sir Thomas More, the Lord chancellor who refused to compromise and was executed by Henry VIII.

    I'm not obsessed with sex. I just can't stop thinking about it.’ The Fleabag bites back. A rip-roaring account of some sort of female living her sort of life.Phoebe Waller-Bridge’s debut play is an outrageously funny monologue for a female performer. It premiered at the 2013 Edinburgh Festival Fringe, performed by Phoebe herself, before transferring to Soho Theatre, London, for several successful runs, followed by a UK tour. It won a Fringe First Award in Edinburgh, the Most Promising New Playwright and Best Female Performance at the Off West End Theatre Awards, The Stage Award for Best Solo Performer and the Critics’ Circle Award for Most Promising Playwright. It received a Special Commendation in the Susan Smith Blackburn Prize and was nominated for the Olivier Award for Outstanding Achievement in an Affiliate Theatre. In 2016 it was turned into a wildly successful and ‘utterly riveting’ (Guardian) BBC television series.This edition also features an introduction by the author.‘Believe the hype, Waller-Bridge’s raw writing… really is as good as everyone says’ - The Stage'Sucker-punch funny... I've never seen a play quite like it' - Scotsman'frank and sometimes brutally funny... devastatingly good' - The Times'blessed with a rare and compelling life force... deliciously dirty and scabrously funny' - Evening Standard

    Maria was young and innocent and had never known love—until Tony. And he, who had been seeking something beyond the savagery of the streets, discovered it with her. But Maria’s brother was leader of the Sharks and Tony had once led the rival Jets. Now both gangs were claiming the same turf. Tony promised Maria that he would stay out of it. Would he be able to keep his word? Or would their newfound love be destroyed by sudden death?

    When his father is killed in the September 11th attacks on the World Trade Centre, Oskar sets out to solve the mystery of a key he discovers in his father's closet. It is a search which leads him into the lives of strangers, through the five boroughs of New York, into history, to the bombings of Dresden and Hiroshima, and on an inward journey which brings him ever closer to some kind of peace.

    At the end of a long day in which the actresses Thomas auditions fail to impress him, in walks Vanda, very late and seemingly clueless, but she convinces him to give her a chance. As they perform scenes from Thomas’s play, and Vanda the actor and Vanda the character gradually take control of the audition, the lines between writer, actor, director, and character begin to blur. Vanda is acting . . . or perhaps she sees in Thomas a masochist, one who desires fantasy in “real life” while writing fantasies for a living.   An exploration of gender roles and sexuality, in which desire twists and turns in on itself, Venus in Fur is also a witty, unsettling look at the art of acting—onstage and off.

    It's an antebellum fever-dream, where fear and desire entwine in the looming shadow of the Master's House. Jim trembles as Kaneisha handles melons in the cottage, Alana perspires in time with the plucking of Phillip's fiddle in the boudoir, while Dustin cowers at the heel of Gary's big, black boot in the barn. Nothing is as it seems, and yet everything is as it seems.

    Derived from interviews with a wide range of  people who experienced or observed New York's 1991  Crown Heights racial riots, Fires In The  Mirror is as distinguished a work of  commentary on current Black-White tensions as it is a  work of drama.

    Dunstan's Church, just a few blocks away from the Royal Courts of Justice. On this site, they say, he robbed and murdered more than 150 customers. To dispose of their remains, he carried them through underground tunnels to the bakery of one Mrs. Lovett a few blocks away, where they supplied the stuffing for her meat pies, the favorite mid-day repast of the lawyers who worked nearby and got their shaves from Sweeney Todd. The man you lunched with yesterday could be your lunch today!The story first appeared in 1846 as a best-selling "penny dreadful", a sensational thriller published in installments. Before the final chapters even had a chance to hit the stands, the first stage version was packing them in at the Royal Britannia Saloon. Since then, there have been numerous stage and literary versions of the story.This script has been specially commissioned by Blackstone Audio, Inc., based on the original sources of the tale.

    All roads are blocked, and four or five weary travelers are going to have to hole up until morning. Cherie, a nightclub chanteuse in a sparkling gown and a seedy fur-trimmed jacket, is the passenger with most to worry about. She's been pursued, made love to and finally kidnapped by a twenty-one-year-old cowboy with a ranch of his own and the romantic methods of an unusually headstrong bull. The belligerent cowhand is right behind her, ready to sling her over his shoulder and carry her, alive and kicking, all the way to Montana. Even as she's ducking out from under his clumsy but confident embraces, and screeching at him fiercely to shut him up, she pauses to furrow her forehead and muse, "Somehow deep inside of me I got a funny feeling I'm gonna end up in Montana " As a counterpoint to the main romance, the proprietor of the cafe and the bus driver at last find time to develop a friendship of their own; a middle-age scholar comes to terms with himself; and a young girl who works in the cafe also gets her first taste of romance.

    Yet Steven Adly Guiguis has created a profane, hilarious masterpiece that earned a "hatful" of theatrical accolades in 2011, including a Drama Desk award for Outstanding Actor in a Play for Bobby Cannavale. Stars the original Broadway cast: Chris Rock, Bobby Canavale, Annabella Sciorra, Elizabeth Rodriguez and Yul Vazquez.