It would be about being present and being committed to the artistic process every single day, regardless of the ‘weather.’ It became a daily meditation, a daily prayer celebrating the rich and strange process of a writing life.”—Suzan-Lori Parks On November 13, 2002, the incomparable Suzan-Lori Parks got an idea to write a play every day for a year. She began that very day, finishing one year later. The result is an extraordinary testament to artistic commitment. This collection of 365 impeccably crafted pieces, each with its own distinctive characters and dramatic power, is a complete work by an artist responding to her world, each and every day. Parks is one of the American theater’s most wily and innovative writers, and her “stark but poetic language and fiercely idiosyncratic images transform her work into something haunting and marvelous” (TIME).

    

    Macon and Bess are two mail-order brides, lured to the West by the promise of new beginnings through marriage to men they have never met. While waiting for their respective husbands-to-be, one bubbling with optimism, the other mousy and plain, the two women become instant best friends. As Abundance follows the two women through their friendship and adventures for the next 25 years, this Western epic unearths the dark underside of American mythology. A L.A. Theatre Works full-cast performance featuring: Ed Begley Jr., Gary Cole, Amy Madigan, Steven Weber and JoBeth Williams.

    Poetry. Performance Studies. African & African American Studies. California Interest. Hybrid Genre. Winner of the 2016 Relentless Award from the American Playwriting Foundation. Introduction by Dawn Lundy Martin. Aleshea Harris' IS GOD IS is a classic revenge tale about two sisters that blends tragedy, typography, the Spaghetti Western, hip-hop and Afropunk. In this necessary new play, emotions are laid bare through gaps in language and characters are a window into the canon as well as our own broken times. A rigorous new work that unearths our deepest fears about humanity and who we think we are in relation to ourselves and the divine.--Dawn Lundy Martin Family, as the old tragedians knew, is our first country. Therefore, it's the earth from which we forge our first weapons, the fields of our first wars, the very turf over which we fight. With IS GOD IS, Aleshea Harris audaciously scours tragedy down with the rough edge of a rock. To read this merciless play is to get blood in your eye--and in Harris' sure grip, you'll recall that blood washes and stains, can run hot or cold, means both violence and family.--Douglas Kearney 3 Hole Press is a small press bringing new audiences to new plays in printed formats. The Press publishes titles that expand notions of what a play is, the possibilities that emerge for drama on the page, and the connection between plays and other mediums. Interdisciplinary by design, these books belong outside the drama section.

    As victims of political action, powerless to initiate change, what can they do? How do they live and survive?Frank McGuinness explores the daily crisis endured by hostages whose strength comes from communication, both subtle and mundane, from humour, wit and faith.Someone Who'll Watch Over Me premiered at the Hampstead Theatre, London, in 1992 before transferring to the West End. On Broadway, it was awarded the New York Drama Critics' Circle Award for Best Foreign Play and nominated for the Tony Award for Best Play in 1993.

    Almost one hundred years later, a groom-to-be prepares for his gay wedding.Queers celebrates a century of evolving social attitudes and political milestones in British gay history, as seen through the eyes of eight individuals.Poignant and personal, funny, tragic and riotous, these eight monologues for male and female performers cover major events - such as the Wolfenden Report of 1957, the HIV/AIDS crisis, and the debate over the age of consent - through deeply affecting and personal rites-of-passage stories.Curated by Mark Gatiss, the monologues were commissioned to mark the anniversary of the 1967 Sexual Offences Act, which decriminalised homosexual acts in private between two men over the age of twenty-one. They were broadcast on BBC Four in 2017, directed and produced by Gatiss, and starring Alan Cumming, Rebecca Front, Ian Gelder, Kadiff Kirwan, Russell Tovey, Gemma Whelan, Ben Whishaw and Fionn Whitehead. They were staged at The Old Vic in London.This volume includes:The Man on the Platform by Mark GatissThe Perfect Gentleman by Jackie CluneSafest Spot in Town by Keith JarrettMissing Alice by Jon BradfieldI Miss the War by Matthew BaldwinMore Anger by Brian FillisA Grand Day Out by Michael DennisSomething Borrowed by Gareth McLean

    Amy is curled up on the locker room floor. DRY LAND is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.

    Unfortunately, her imaginary friend Mr. Marmalade doesn't have much time for her. Not to mention he beats up his personal assistant, has a cocaine addic-tion, and a penchant for pornography and very long dildos. Larry, her only real friend, is the youngest suicide attempt in the history of New Jersey. MR. MARMALADE is a savage black comedy about what it takes to grow up in these difficult times.

    

    But at a time when women are second-class citizens, can her charm and spirit protect her from the dangers of the court? And at what cost?

    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.

    Due to the scientific manipulation of the world’s crops, a destructive system for which Ben is partly responsible, there is very little nourishment left to be had, except for those most privileged and connected. Despite the dying off of most of the world, these characters manage to survive, at times tasting the good life, admiring the beauties of nature, feasting on animalistic sex, and finding love. The play raises issues of redemption, forgiveness, and responsibility as it recounts a somewhat passionate, erotic adventure story.Wallace Shawn is the author of Our Late Night (winner of the OBIE Award for Best Play), Marie and Bruce, Aunt Dan and Lemon, The Designated Mourner, The Fever, and the screenplay for My Dinner with Andre, in which he starred. Grasses of a Thousand Colors, Shawn’s first full-length play in ten years, will be produced in the United Kingdom and the United States in 2009. Shawn is a well-known film and television actor. He resides in New York City.

    A farce with a hilarious drunk scene for two stylish comediennes.

    Let's take check: Finn Bar, slightly ruffled but still in fighting form. Maggie, could do with a full night's sleep but otherwise all in order... Stay here. Don't answer the door. I'll go out and get some proper food.In a new flat, three children play hide and seek. Eliot wears a crown, little Finn, King of the Wild Thing's, draws on the walls. Maggie climbs them. Hiding from the world, needing to be found, their one shared focus a mobile phone. Will it ring? Who will call? And what are they waiting for?Tusk Tusk is a tale of family loyalty as an uncertain future circles. Polly Stenham's second play premiered at the Royal Court Theatre, London, in March 2009.

    Lyly took up the story of two young women, Galatea (or Gallathea) and Phillida who are dressed up in male clothes by their fathers so that they can avoid the requirement of the god Neptune that every year "the fairest and chastest virgin in all the country be sacrificed to a sea-monster." Hiding together in the forest, the two maidens fall in love, each supposing the other to be a young man. "Galatea" has become the subject of considerable feminist critical study in recent years. "Midas" (1590) uses mythology in quite a different way, dramatizing two stories about King Midas in such a way as to fashion a satire of King Philip of Spain (and of any tyrant like him) for colossal greediness and folly. In the wake of the defeat of Philip's Armada fleet and its attempted invasion of England in 1588, this satire was calculated to win the approval of Queen Elizabeth and her court.