Jody is in his forties and runs a map store. Not one for the outside world, he stays in his store all the time. His friend, Carl is in his late thirties and has been bringing chairs of dead friends into Jody's store and leaving them there. When Jody needs to take an AIDS test, Carl tries to convince him it is not only okay to leave the store, but also that he must take responsibility for his life. If he doesn't, he will join the set of chairs that Carl has taken great pains to place in the right spots around the store. Jody finally leaves the map store to take his HIV test and return to find Carl sitting in a chair of his own. With this gesture, we know that Carl has joined the many of their friends who have died, but now Jody must take Carl's place as the caretaker.

    Gardner, once a famous poet, now is retired. He slips in and out of senility as his wife Fanny valiantly tries to keep them both afloat. They have asked their daughter, Mags, to come home and help them move. Mags agrees, for she hopes as well to finally paint their portrait. She is now on the verge of artistic celebrity herself and hopes, by painting her parents, to come to terms with them and they with her. Mags triumphs in the end as Fanny and Gardner actually step through the frame and become a work of art ineffable and timeless.

    It explores the dynamics of health, family and community with the story of her mother’s extraordinary ability to heal a changing neighborhood, despite her inability to heal herself. In this solo show with other people in it, Kron asks the provocative question: Are we responsible for our own illness? But the answers she gets are much more complicated than she bargained for when the play spins dangerously out of control into riotously funny and unexpected territory.Lisa Kron has received numerous honors, including several OBIE Awards, the Cal Arts/Alpert Award, the Bessie Award and the GLAAD Media Award. Ms. Kron lives in New York City and Los Angeles.

    The scene is Mrs. Orcutt's boarding house, where the hopes and ambitions of sixteen young women are revealed in scenes of entertaining comedy. Contrasted with this are the cases of the girl without talent and the elderly actress whose days are over. The central plot has to do with courageous Terry Randall, who fights against discouragement to a position in the theater where we are sure she will conquer. One of her fellow aspirants gives up in despair, one gets married, and one goes into pictures, but Terry, with the help of idealistic David Kingsley, sticks to her guns.

    

    But the arrival of Ericka, a new student with undeniable talent and beauty, captures the attention of the pageant recruiter – and Paulina's hive-minded friends. This buoyant and biting comedy explores the universal similarities (and glaring differences) facing teenage girls across the globe.

    This sidesplitting play, a testimony to David’s great writing talent, is also his first time on Broadway—in fact, his first time acting on stage since eighth grade. In Fish in the Dark Larry David stars as Norman Drexel, a man in his fifties who is average in most respects except for his hyperactive libido. As Norman and his family try to navigate the death of a loved one, old acquaintances and unsettled arguments resurface with hilarious consequences.Fish in the Dark has its world premiere at the Cort Theatre on Broadway on March 5, 2015, starring Larry David.

    The arrival of a hapless governess and a moor-hen set all three on a strange and dangerous path. The Moors is a dark comedy about love, desperation, and visibility.1 M, 5 F.

    Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship and abuse.

    Brant’s writing [is] taut, terse and concentrated on exposing the fissures that open in the heroine’s confidence and sense of honor... Grounded has a grimly fresh topicality." - New York Times"Propulsive drama... A fascinating exploration of personality, Grounded is, of course, all the more interesting because the subject of drone warfare is so much in the news... Thought-provoking." - Washington Post"Brant’s sharp-eyed, timely script... lets no one off easy; it forces the audience into a greater awareness of our own complicity in America’s drifts. Clap all you want at the end of the play—and you’ll want to clap a lot—but the game stays with you." - Time Out New York"Brant's drama is ready for prime time... Compelling and provocative." - San Francisco Chronicle"I was blown away... Grounded powerfully focuses on the human element... Don't miss it." - The Nation"Gripping... A play that challenges us to consider the moral and mortal conflict that is so much a part of our dangerous world... Delivers quite the gut punch... Grounded could not be much more timely." - Baltimore SunSeamlessly blending the personal and the political, Grounded tells the story of a hot-rod F16 fighter pilot whose unexpected pregnancy ends her career in the sky. Repurposed to flying remote-controlled drones in the Middle East from an air-conditioned trailer near Vegas, the Pilot struggles through surreal twelve-hour shifts far from the battlefield, hunting terrorists by day and being a wife and mother by night. A tour de force play for one actress, Grounded flies from the heights of lyricism to the shallows of workaday existence, targeting our assumptions about war, family, and the power of storytelling.Winner of the 2012 Smith Prize, a 2013 Scotsman Fringe First Prize, and Shortlisted for the Amnesty International Freedom of Expression Award 2013 at the Edinburgh Fringe Festival, 2013.

    Someone - or something - is leaving bite marks in the avocados, Clay and Kelly's little daughter has an itch, and Carol can't remember who played Gandhi. This work takes a look at phoney liberal values.

    . . . Lynn Nottage’s beautiful, hideous and unpretentiously important play [is] a shattering, intimate journey into faraway news reports.”—Linda Winer, Newsday“An intense and gripping new drama . . . the kind of new play we desperately need: well-informed and unafraid of the world’s brutalities. Nottage is one of our finest playwrights, a smart, empathetic and daring storyteller who tells a story an audience won’t expect.”—David Cote, Time Out New YorkA rain forest bar and brothel in the brutally war-torn Congo is the setting for Lynn Nottage’s extraordinary new play. The establishment’s shrewd matriarch, Mama Nadi, keeps peace between customers from both sides of the civil war, as government soldiers and rebel forces alike choose from her inventory of women, many already “ruined” by rape and torture when they were pressed into prostitution. Inspired by interviews she conducted in Africa with Congo refugees, Nottage has crafted an engrossing and uncommonly human story with humor and song served alongside its postcolonial and feminist politics in the rich theatrical tradition of Bertolt Brecht’s Mother Courage.Lynn Nottage’s plays include Crumbs from the Table of Joy, Fabulation, and Intimate Apparel, winner of the American Theatre Critics’ Steinberg New Play Award and the Francesca Primus Prize. Her plays have been widely produced, with Intimate Apparel receiving more productions than any other play in America during the 2005-2006 season.

    Decades later, in What the Constitution Means to Me, she traces the effect that the Constitution has had on four generations of women in her family, deftly examining how the United States' founding principles are inextricably linked with our personal lives.

    His tricks and turns have a purpose. They are bridges over a deep pit of sympathy and sorrow, illuminated by a tragic vision of stunted and frustrated lives.' Fintan O'Toole, Irish TimesMartin McDonagh's searingly brilliant new play premi�res at the National Theatre, London in November 2003.

    His death has brought into her midst both her sister, Claire, who wants to take Catherine back to New York with her, and Hal, a former student of Catherine's father who hopes to find some hint of Robert's genius among his incoherent scribblings. The passion that Hal feels for math both moves and angers Catherine, who, in her exhaustion, is torn between missing her father and resenting the great sacrifices she made for him. For Catherine has inherited at least a part of her father's brilliance -- and perhaps some of his instability as well. As she and Hal become attracted to each other, they push at the edges of each other's knowledge, considering not only the unpredictability of genius but also the human instinct toward love and trust.