A masterful poet of the downtrodden, his plays portray life on New York's hardscrabble streets in a manner both tender and unflinching, while continually exploring the often startling gulf between who we are and how we perceive ourselves. Gathered in this volume is his current off-Broadway hit, Our Lady of 121st Street, a comic portrait of the graduates of a Harlem Catholic school reunited at the funeral of a beloved teacher, along with his two previous plays: the philosophical jailhouse drama Jesus Hopped the A Train and In Arabia, We'd All Be Kings, an Iceman Cometh for the Giuliani era that looks at the effect of Times Square's gentrification on its less desirable inhabitants.

    Padma Nadir Majhi ( Bengali:,English title: Boatman of the River Padma or The Padma Boatman ) (1993) is an award-winning Indian Bengali feature film directed by Goutom Ghosh from novel,the same name Manik Banerjees Padma Nadir Majhi.Hossian Miya (Utpal Dutta),Bengali Muslim, a trader who offers to take this community to with an idealistic vision: he wants to establish a little utopia on an island (Moynadeep) in the Padma delta . and offer them a better life there. It is apparent that Hossian Miya has a flourishing business there, because he has recently purchased a huge boat because of expanding business.

    Hoping to regain some faith in his own goodness, he turns his attention to Tommie, an awkward and unpopular eleven-year-old girl. Lamb is convinced that he can help her avoid a destiny of apathy and emptiness, and even comes to believe that his devotion to Tommie is in her best interest. But when Lamb decides to abduct a willing Tommie for a road trip from Chicago to the Rockies, planning to initiate her into the beauty of the mountain wilderness, they are both shaken in ways neither of them expects.   Lamb is a masterful exploration of the dynamics of love and dependency that challenges the boundaries between adolescence and adulthood, confronts preconceived notions about conventional morality, and exposes mankind’s eroded relationship with nature.

    As a blizzard rages outside, a lonely figure, Henry Harry, lies sleeping under a heap of blankets. Suddenly, he is awakened by the insistent knocking of an unexpected visitor who turns out to be Rosannah DeLuce, a distraught young woman who has fled all the way from Arizona to escape her impending marriage, and who bursts into the cabin dressed in full bridal regalia. Exhausted, she throws herself on Henry's mercy, but after sleeping for two days straight, her vigor and combativeness return. Both characters, it develops, have been wounded and embittered by life, and both are refugees from so-called civilization. Thrown together in the confines of the snowbound cabin, they alternately repel and attract each other as, in theatrically vivid exchanges, they explore the pain of the past and, in time, consider the possibilities of the present. In the end their very isolation proves to be the catalyst that allows them to break through the web of old griefs and bitter feelings that beset them both and to reach out for the solace and sanctuary that only hard-won understanding, self-awareness and compassion for the plight of others can bestow.

    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.

     For Annie and Will, who have left their marriages to be together, the future is fraught with the complications of starting over. Both have left pieces of themselves behind: For Annie, it is the husband and friend she has known since childhood; for Will, it is the five-year-old daughter he adores. And for the Korean-born Sungae, one of Annie's English-as-a-second-language students, it is a search for the words that will help her resolve the sorrows of her tragic history. As Sungae struggles with the new language and with her memories, her story unfolds in ways that will have profound consequences not only for Sungae, but for Annie, Will, and their former spouses. A lyrical and deeply moving novel about love, loss, and language-and about confronting life's tough choices-The Language of Good-bye "weaves a wonderful story [about] letting go of the past and moving forward into the future" (Gail Tsukiyama, author of The Language of Threads).

    Being in a relationship with ladies' man, Jay'vion, Asia is ready to throw in the towel. Jay'vion is the true definition of the song 'Can't Raise a Man.' Having a hard time being faithful and committing himself to Asia, he finds himself alone and lonesome. The last woman has approached Asia for the last time, and though letting go might be the hardest thing she's ever had to endure, she knows it's something she has to do. What hurts the most is falling for another man when you already have one of your own. Tangela has always lived by the rule of loyalty, even if her man is serving a five-year sentence. When she meets irresistible, fresh out of prison Quintez, she knows to stay far away from his kind. Little does she know, whatever Quintez wants, he gets. That includes her. Will Tangela continue to be loyal to her man, or will Quintez be one temptation she will not be able to fight? This is one rollercoaster ride you don't want to miss.

    It is an exploration of intimacy, identity, and the courage it takes to be who you really are.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

    Raised by her father, a ruthless Mexican drug cartel boss, and her mother, a strong-spirited black woman with an MBA from Harvard, it's no surprise that when Alexus graduates from high school text books to kilos of cocaine and heroin, she quickly becomes one of the best to ever do it in the dope game. After her father, Juan "Papi" Costilla, is sent away to federal prison, Alexus soon finds herself in Michigan City, Indiana with her mother, Rita Mae Bishop. With $250,000 in cash and 48 kilos of pure cocaine--stuffed inside large soup cans and smuggled into the country through her family's drug tunnel-- Alexus sets out to build herself a BMF-like drug-dealing ring, utilizing the connections of her numerous lovers to maximize her bankroll. But will she survive the wrath of the Costilla cartel when a portion of it turns against her? Find out in...

    A celebrity artist shining bright at the crest of the Restoration Ned, or Mr. K as he's called, is applauded onstage and off for his interpretations of Shakespeare's tragic ladies: Ophelia, Cleopatra, especially his Desdemona and his famous "death scene". He s the toast of the town and the very secret "mistress" of the powerful Duke of Buckingham. But when an unknown named Margaret Hughes plays Desdemona one night at an illegal theater, instead of stopping the show, the ever-game King Charles II changes the law to allow women to act. By the stroke of a pen, Kynaston's world is turned upside-down. He loses his cachet, his livelihood, his lover and his sense of self. And as such women as the king's own courtesan Nell Gwynn, and Kynaston s former dresser Maria, become stars, his own light disappears until fate and his desire for revenge give him a chance to take the stage again.

    Pavle leaves town to think things over. Weeks later, a deformed corpse is found washed up on the banks of the Danube and is identifed to be that of Pavle. The case is judged a suicide. Three years later, Pavle, now "the deceased," unexpectedly returns. He discovers that his heirs have not only plundered his estate, but also refuse to recognize him as being "legally" alive, and they unite to keep him "dead" to maintain the status quo. This is the first English translation of a masterful and darkly comic play that will enter its rightful place as a world classic. The fluid and natural translation lends itself to theatrical production. Comically absurd, filled with existential angst, it was ahead of its time in 1937. At once vaudevillian and modernist, it is distinguished by clever plotting and stinging dialogue. The play stands as a lasting and caustic satire of human greed, strangely consonant with todays society.

    The Light in the Piazza has ravishing power. It’s as if Guettel were determined to capture the golden light of Tuscany in a bottle. His lyrics are remarkable, and the book, written by Craig Lucas, is written with characteristic empathy and humor. Brilliant.” –Frank Rich“The Light in the Piazza beautifully captures the eternal allure of Italy. . . . The story wraps itself around your heart.”—Chicago Sun-Times“Sumptuous and romantic. Guettel’s music and lyrics represent a genuine expense of spirit. The Light in the Piazza offers a complex contemplation of the well-defended emptiness of every man and woman. It doesn’t want theatergoers to feel good; it wants to make them feel deeply. And it does.” –New YorkerComposer Adam Guettel, best known for his Floyd Collins, has teamed with Prelude to a Kiss playwright Craig Lucas to create a passionate and soaring new musical. Based on Elizabeth Spencer’s 1960 novella, The Light in the Piazza is the story of a young American woman whose chance encounter with a charming young Italian man in a Florentine piazza sets off a whirlwind romance, with an unsettling revelation.Craig Lucas is a playwright, screenwriter and director. His plays include Prelude to a Kiss, Reckless, Blue Window, God’s Heart, The Singing Forest and Small Tragedy. His screenplays include Longtime Companion, The Secret Lives of Dentists and The Dying Gaul, which he also directed. Mr. Lucas’ awards include the L.A. Drama Critics Award, an OBIE Award for Best Play and Best Director, and the Excellence in Literature Award from the American Academy of Arts and Letters.Adam Guettel is a composer/lyricist living in Seattle, where he is Artist in Residence at the Intiman Theatre. His other work includes Floyd Collins and Saturn Returns (recorded by Nonesuch Records as Myths and Hymns). Mr. Guettel’s awards include the Stephen Sondheim Award, the ASCAP New Horizons Award, and the American Composers Orchestra Award.

    It has been seven years since he stood in that same spot; seven years since he left his family and their history behind him.As a teenager, Rudi discovered that his father was a doctor at Auschwitz. Trying to reconcile his inherited guilt, Rudi lashed out against his family and his friends, and eventually fled to Germany. While there, he follows in his father's footsteps by studying medicine, and falls in love with Sarah, the daughter of a Holocaust survivor.Questioning redemption, love, guilt, and the sins of the father, East of Berlin is a tour de force that follows Rudi's emotional upheaval as he comes to terms with a frightening past that was never his own.

    Milo learns of the argument between King Azaz and his brother, the Mathemagician whose disagreement over words and numbers has led to the banishment of Princesses Sweet Rhyme and Pure Reason. Milo is dispatched to rescue the Princesses from the Land of Ignorance. The knowledge and skills Milo picks up on his journey help him to save the Princesses. When he must return home, Milo's sorry to leave his friends-- but enriched by his experience, he realizes his attitude towards learning will never be the same.