In a series of elegant, nonchronological scenes spanning the years from 1946 to 2015, the play hopscotches through Mary Page Marlowe’s quiet existence as an accountant from Ohio—complicating notions of what it means to lead a “simple life.”

    This short play by Caryl Churchill was an entry in the 1997 London International Festival of Theatre.

    

    For the past five years, she had been in love with the man of her dreams. A man who had given her the world. Because of that love, Charlie had a free ride to college, nice cars, an expensive home, and she owned her own business. In her eyes, life was as good as it could possibly be. She had the love of her life, and success. Now if she could just survive the next four years while he finished a bid for yet another parole violation. As hard as it made life, and as lonely as she was, Charlie loved her man, and was going to get through it. Calvin “Hawk” Cason Hawk was in the streets, but he wasn’t like your typical hustler. Hawk was about his money and loved his woman. So much so that everything he gave Charlie was hers. He never wanted her to feel like the things that he did were because he was buying Charlie’s affection or because he wanted to control her. Charlie owned the title to everything Hawk purchased for her, so with or without him, her life would always be financially stable. Hawk knew that Charlie loved him and not the things that he did, so he had no problem helping to secure her future. The perfect union, right? Sometimes things aren’t always what they seem. Hawk paid his way out of a five-year bid after only doing one year, and was coming home. The problem being, who is he coming home to? His secret life has caught up with him, and it’s time to make a decision. A decision that will possibly rock Charlie to the core. Yazmine Carter Yaz is your typical hood certified chick. She refused to work for anything, but feels like she’s owed everything. That attitude created a love hate relationship between Yaz and Charlie. Yaz claims Charlie as her best friend but secretly hates everything about her. With friends like that, who needs enemies? Yaz doesn’t understand how Charlie is always winning, while she has to struggle for every dime. Even when it comes to Charlie’s relationship with Hawk. Yaz feels like it should have been her. When Yaz finds out that the one person that she really wants has eyes for Charlie instead, Yaz is fed up. She makes some decisions that could cancel years of friendship, and after a one night stand with a man who Yaz doesn’t know but quickly finds out is a powerful ally, Yaz decides that sometimes you have to just go for yours. Will that one decision cost her not only her friendship with Charlie but also her life? Delvin “Fray” Simmons Fray is all about his money. Fray puts nothing before it, which is why he has a reputation of being a savage. It’s nothing for him to take the life of those who are disloyal or try to get in his way. Being the top solider on Hawk’s team, it just made sense that he would be the one to take charge when Hawk got sentenced to a five year bid. Fray was the type to just do what was necessary, and made no apologies for it. For that reason, while Hawk placed him in charge, Fray decided to make sure that when Hawk came home, Fray could walk and still be in charge. Not only did he build Hawk’s business, but he began building his own. Fray understood that money changed everything, and there was no way that he was going to go from running it all to being second in command when Hawk returned. It wasn’t a respect thing, it was simply code of the streets. Things eventually get even more complicated when Hawk asks Fray for a favor that would put him right in the middle of a tug of war between Charlie and Hawk. Not only was Fray preparing to be Hawk’s biggest competitor in the streets, he would now find himself being Hawk’s biggest competitor for Charlie’s heart.

    MacLeod’s young protagonist enters all the bright open avenues of peer-group play and the dark blind alleys of individual and collective terror, as she discovers within herself both the capacity for and the conflict between impulses of good and evil. In thinking back on the history of her own tight-knit group of friends, she begins to see how in the excitement of belonging to a ritualized, secret collective, the self is created by the increasing dehumanization of the other—of both the bully and the victim. The Shape of a Girl goes far beyond a simple dramatization of the seemingly inexplicable code of silence and tacit complicity which surrounded the sensationalized Reena Virk murder in 1997 on which the play is based. It speaks eloquently and compassionately to a world increasingly dominated by all forms of collectivised and ritualized tribalist hatred, and offers the embrace of trust as the only way out of this circle of violence.Jewel is also based on a real-life catastrophe—the sinking of the Ocean Ranger, an oil rig off the coast of Newfoundland, on Valentine’s Day, 1982. Three years later, a widow, Marjorie Clifford, at home in her trailer in Fort St. John, British Columbia, begins to take the first step in understanding that the humanity of love, in all of its tentative frailty, uncertainty and promise, can free a life paralyzed and dominated by loss.

    The game setting? A subdivision with identical houses. The goal? Smash through an army of zombies to escape the neighborhood for good. But as the line blurs between virtual and reality, both parents and players realize that fear has a life of its own. "Playing like a nifty episode of 'The Twilight Zone', the story builds to an affectingly grues

    But hidden there is a secret no one wants to confront, and when they stumble upon it the friends set off an unstoppable chain of events. A supernatural thriller of suburban teenagers fleeing a mysterious plague.

    Moments that make us who we are. But what if they don't unfold the way they're supposed to...?What if you get on the wrong bus, or don't speak to the right person at a party, or stay in a job that isn't for you? Will you miss your one chance at happiness? Or will happiness find you eventually, when the moment is right?Meet Matthew and Myrtle. They have never really felt like they fitted - in life or with anyone else. But they are meant to be together - if only they can find each other.A powerful and emotional story about missed chances, interwoven lives and the moments that define us.

    Family secrets and lies will be revealed and lots of scheming surrounding the lives of these two sisters will surface. Once the drama ensues and lies are uncovered, you won't be able to handle what happens at each turning corner.

    A mixture of poetry, metaphysics, and common sense, they are ideal for the imaginative director and are easily adapted for radio or small acting areas.

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

    This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    In his newest play, Celebration, he continues to examine the darker places of relationships. Celebration is an acerbic portrait of a sated culture choking on its own material success. Startling, full of black humor and wicked satire, Celebration displays a vivid zest for life. Also included in this volume is Pinter's classic play The Room. Both plays are invested with the elements that make Pinter's work unique: the disturbingly familiar dialogue, subtle characterization, and abrupt mood and power shifts among characters, which can be by turns terrifying, moving, and wildly funny.

    But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fiancé, Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and needs help packing. Amanda balks and ends up (gently) hitting the postman, who happens to be her first boyfriend. They spend the night together in an apple orchard, where Amanda tries to tell Billy how her life got sidetracked. It has something to do with being a young woman in a profession that only recognizes famous men. Billy acts like he might have the answer, but doesn't. Neither does Amanda's mother. Or, for that matter, her father. A Feminine Ending is a gentle, bittersweet comedy about a girl who knows what she wants but not quite how to get it. Her parents are getting divorced, her fiancée is almost famous, her first love reappears, and there's a lot of noise in her head but none of it is music. Until the end. "Ending′ is a promising beginning...the playwright has a sense of humor that brings to mind a budding Wendy Wasserstein and a liberated sense of form that evokes a junior Paula Vogel."-Los Angeles Times "Darkly comic. FEMININE ENDING has undeniable wit." -New York Post. "Appealingly outlandish humor." -The New York Times. "Courageous. The 90-minute piece swerves with nerve and naivete. Sarah Treem has a voice all her own." -Newsday.

    Blood Wedding tells the story of a couple drawn irresistibly together in the face of an arranged marriage; Doña Rosita the Spinster follows the appalling fate of a young woman beguiled into the expectation of marriage and left stranded for a lifetime whilst Yerma is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. Set in and around his home territory, Granada, the plays return again and again to the lives of passionate individuals, particularly women, trapped by the social conventions of narrow peasant communities. The plays appear here in new playable translations.