They've returned home to toast their mentor Gina, newly inducted as president of a tiny Catholic college. But as their reunion spirals into spiritual chaos and clashing generational politics, it becomes less a celebration than a vicious fight to be understood. On a chilly night in the middle of America, Will Arbery's haunting play offers grace and disarming clarity, speaking to the heart of a country at war with itself.

    But when Luke is hospitalized in a tragic accident, Adam must come face-to-face with Luke's faith and his family.

    Not all the stories these characters tell are true; some are lies, wild yams, clever deceits, baroque fabrications. But whether or not a homeless kid invents an incredible history for himself isn't the point, explains diarist-of-the-street Jim Grimsley. "All these stories and lies add up to something like the truth."Inspired in part by Ovid's Metamorphoses, Iizuka's Polaroid Stories takes place on an abandoned pier on the outermost edge of a city, a way stop for dreamers, dealers and desperadoes, a no-man's land where runaways seek camaraderie, refuge and escape. Serpentine routes from the street to the heart characterize the interactions in this spellbinding tale of young people pushed to society's fringe. Informed, as well, by interviews with young prostitutes and street kids, Polaroid Stories conveys a whirlwind of psychic disturbance, confusion and longing. Like their mythic counterparts, these modem-day mortals are engulfed by needs that burn and consume. Their language mixes poetry and profanity, imbuing the play with lyricism and great theatrical force.

    The Civil War is over and throughout the south, slaves are being freed, soldiers are returning home and in Jewish homes, the annual celebration of Passover is being celebrated. Into the chaos of war-torn Richmond comes Caleb DeLeon, a young Confederate officer who has been severely wounded. He finds his family's home in ruins and abandoned, save for two former slaves, Simon and John, who wait in the empty house for the family's return. As the three

    Marcus Hubbard, rich, despotic and despised, made a fortune during the Civil War by running the blockade and worse. In his family life he is equally injurious: one son he bulldozes while the other he holds in contempt for his frailty. By Marcus's side stands his mentally deranged wife and, finally, Regina, the adored daughter amoral, conniving, and beautiful as an evil flower. Marcus, it would seem, has been on the top of the heap long enough and someone must depose him. Turning the tables on a tyrant has always made for high drama, and when Hellman puts her brilliant talents to work on such a theme the result is a play of great theatrical intensity.

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.

    It was ground-breaking, not only for its blatant denounciation of the incompetence of political leaders during World War I, but also for its unusual theatrical style and development. Created organically through a process of improvisation which was then scripted, Oh What A Lovely War is a colorful and innovative exercise in ensemble theatre and acting.It recalls the horrors of World War I through the humor and frivolity of a seaside pier show, mixing famous British war songs (often with alternative words) with gags and dances, and sets hilarious clowning against shocking factual documentation of the war's casualties. An exhilarating ensemble piece, Joan Littlewood's theatrical creation is a lesson in Brechtian theatre, in its self-conscious theatricality, and uses humor to present human tragedy.It received the acclaim of London audiences and critics. It won the Grand Prix of the Théâtre des Nations festival in Paris that year and has gone on to become a classic of the modern theatre. In 1969 a film version was made which extended the play's popular success. This new version of the play, as edited by Joan Littlewood, returns the script to its original version.Includes a new photo section of the original production, and an Afterword by Victor Spinetti.

    While some see Burnfield as the suburban ideal of quiet comfort, the suffocating safe world only feeds their frustrations, and a night of drinking and partying careens recklessly toward violence, despair and death.

    He is sent to Italy by a wealthy financier to try and coax home the rich man's son. In the process Ripley becomes both attracted and seduced, finding the murder the only way to deal with the situation. From that point Ripley tries to cover up his crime. Patricia Highsmith's beguiling tale of morality and amorality is given a dramatic rendering by contemporary dramatist Phyllis Nagy, who knew Highsmith in her later years in Paris."Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)

    Hearts are palpitating in the sleepy borough of Queens, but not entirely on account of His Holiness. Bunny Flingus, a femme-fatale from Flushing (or thereabouts) is stirring things up in the quiet, unfulfilled life of aspiring songwriter Artie Shaughnessy. Artie longs to leave his unhappy marriage, elope with Bunny, and write a hit song that will top the charts.

    Jorge Huerta of the University of California-San Diego. Luis Valdez, the most recognized and celebrated Hispanic playwright of our times, is the director of the famous farm-worker theater, El Teatro Campesino.

    13 selections from one of the most popular musicals ever. Includes: All Good Gifts * Bless the Lord * By My Side * Day by Day * Prepare Ye (The Way of the Lord) * and more.