The play explores her fight to retain her independence and the subsequent effect of her decline on her family, especially her grandson. Inspired by Lonergan's own grandmother, it's an ode to an extraordinary woman, and to the humor and strength of a family in crisis. Kenneth Lonergan once again shows himself to have one of the keenest ears of any working playwright. Also the screenwirter of the deeply funny Analyze This, he's known for his incisive humor and brilliant knack for capturing the heart and soul of human interaction.

    The first part of what has come to be known as the Mercer Series, Leaving Home tells the story of a Newfoundland family that has emigrated and lost all sense of its place in the world.Leaving Home was named one of the "100 Most Influential Canadian Books" by the Literary Review of Canada.

    Controversial but successful on the London stage, this play reveals the fate of a "notorious woman" in Victorian England.

    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.

    Her first step is to admit that she has a problem. But the problem isn't with Emma, it's with everything else. She needs to tell the truth, but she's smart enough to know that there's no such thing. When intoxication feels like the only way to survive the modern world, how can she ever sober up?

    

    The ghost of a young murdered girl flits through every scene linking the pain and anguish of all the characters struggling to cope with urban life.

    He explores the queasy relationships between life and art, love and estrangement, and the bane that is American identity drift, with unsparing but compassionate candor.” –Misha Berson, Seattle Times“Margulies’s remarkable gift of building characterization through realistic dialogue is undiminished. Full of aching ruefulness that underlies the comedy, Brooklyn Boy’s scenes are written with precision and humor. The play isn’t about Brooklyn, nor is it about a boy—it’s about a man without a home.” –Don Shirley, Los Angeles TimesThis new play by the Pulitzer Prize-winning author of Dinner with Friends follows the career of Eric Weiss, a writer whose novel hits the bestseller list the same time his life begins to unravel. His wife is out the door, his father is in the hospital, and his childhood friend thinks he has sold himself to the devil. A funny and emotionally rich look at family, friends and fame.Donald Margulies received the 2000 Pulitzer Prize for Drama for Dinner with Friends. The play received numerous awards, including the American Theatre Critics Association New Play Award, the Dramatists Guild/Hull-Warriner Award, the Lucille Lortel Award, the Outer Critics Circle Award and a Drama Desk nomination, and has been produced all over the United States and around the world. In addition to his adaptation of God of Vengeance, his many plays include Collected Stories, The Country House, Sight Unseen, The Model Apartment, The Loman Family Picnic, What’s Wrong with This Picture? and Time Stands Still. Mr. Margulies currently lives with his wife and their son in New Haven, Connecticut, where he teaches playwriting at Yale University.

    This is convincing proof that Manual Puig was one of our most talented writers - no matter what the medium. Puig is the author of seven novels, translated into fourteen languages.

    It doesn't last long, but its power can stand your hair on end. This splendid anthology contains enough wattage to light up a small city. For in its pages, thirty-two of our finest playwrights hone their skills on a form that has been called the haiku of the American stage. The plays that Nina Shengold and Eric Lane have collected in this volume range from monologues to an eight-character farce. Eminently producible, ideally suited for the classroom and audition, Take Ten is a marvelous resource for teachers and students of drama, as well as a stimulating read for lovers of the theatre. Contributors include: John Augustine, Cathy Celesia, Laura Cunningham, Joe Pintauro, Mary Sue Price, Megan Terry, Jose Rivera, Romulus Linney, David Mamet, Jane Martin, David Ives, and many others.

    Both are struggling to escape from lingering parental domination and to establish their own lives and identities. In Janie's case this leads to an inconclusive involvement with a young Jewish doctor who calls her "Monkey"; while Harriet assails the world of big business and has an affair with her hard-driving (and married) boss. Told in a fast-moving series of inventive, alternately hilarious and touchingly revealing scenes, the play explores their parallel stories with uncommon wit and wisdom-resulting, ultimately, in a heightened awareness which, while not providing all the answers, goes a long way toward achieving the maturity and self-assuredness that both protagonists so desperately desire.

    The evening consisted of six Durang one act plays. It was directed by Walter Bobbie; set was by Derek McLane, costume by David C. Woolard, lighting by Brian Nason, sound design by Tony Meola; production stage manager was Perry Cline, stage manager was Greg Fletcher. Durang/Durang is an evening of six one acts. It is thus not a full length play, but it is a full evening.

    

    The lawyer is married to a beautiful, well-to-do girl in the midwest whose family sets the pace in local society and intends to run his marriage and his career as well. He has rebelled, come to New York, and taken up residence with this intriguing young woman. He is lonely and in need of consolation; she is one of those rare women whose only purpose seems to be making others happy. Their briefly fulfilling relationship is unhappily destined to failure: he is a cultured gentile with a wife and painful memories while she is a plain Jewish girl with little education and a horrible Bronx accent. They share happy and humorous moments together, but they both see with sadness the utter hopelessness of the affair."It's a whale of a hit, a bittersweet joy ride." - The New York Mirror ."An absorbing, affectionate, and funny delight." - The New York Daily News