He enlists the aid of his lifelong buddy, Aldo Scalicki, a confirmed bachelor who tries, without apparent success, to convince Huey that he would be better off sticking with his new lady friend, Teresa, a usually placid young waitress whose indignation flares when she learns what Huey is up to. In a moonlit balcony scene (hilariously reminiscent of Cyrano de Bergerac) Aldo pleads his lovesick friend's case and, to his astonishment, Janice capitulates although not for long. However we do learn that her earlier abuse of Huey was intended to make him "act like a man" which, at last, he does. And, more than that, he (and the audience) become aware that, in the final essence, "the greatest and only success is to be able to love" a truth which emerges delightfully from the heartwarming, wonderfully antic and always imaginatively conceived action of the play.

    What Rebecca Gilman makes of this familiar scenario is something startlingly real and compelling, delving deeply into the small space that can divide a feeling of hope from one of hopelessness, as Curt and Sandy both try to get a foothold in the American dream of a house, a job, a life, a relationship with another human being.Gilman's previous play, Boy Gets Girl, was acclaimed by Time magazine as the best play of 2000, saying that "with Spinning into Butter, her play about race relations on campus, Rebecca Gilman gave notice that she was a playwright to watch. And with this intense drama of a woman's encounter with a stalker, she became one to hail . . . It's not just a gripping play but also an important one." Marked by Gilman's characteristically sharp delineation of character, pitch-perfect dialogue, and effortless use of humor that is both biting and silly, Blue Surge is a worthy successor to these plays--an intimate look at the class struggle in America today as well as a brilliant example of the dramatic craft from one of today's most accomplished practitioners. It will have its world premiere at the Goodman Theatre in Chicago in the spring of 2001.

    

    The guests at this little “sitcom” soirée are couples that represent what by now have become the clichéd extremes of both societies: Angel’s former radical Native activist buddies and Colleen’s environmentally concerned vegetarian / veterinarian friends. The menu is, of course, the hosts’ respectful attempt at shorthand for the irreconcilable cultural differences about to come to a head during the evening: moose roast and vegetarian lasagna.Like all of Drew Hayden Taylor’s work, alterNatives manages to say things about “Whites and Indians” that one is not supposed to talk about—it digs up the carefully buried, raw and pulsing nerve-endings of the unspeakable and exposes them to the hot bright lights of the stage. That he does so with a humour that the politically correct among his audiences continue to miss entirely beneath the sound and fury of their own self-righteous indignation is a measure of his immense talent as a dramatist. In the end, the play is not about cultural differences at all, but instead constitutes a full frontal attack on the personal qualities the sitcom holds most dear and pushes hardest at its audiences: Taylor actually has the temerity to suggest that neither “attitude” nor “sincerity” are enough to address basic human issues, no matter which side of the cultural fence the characters are on. And that’s hard for the pushers of what is considered a globally enlightened culture to take.Cast of 3 women and 3 men.

    Desperate to help him remember, Alex starts collecting old photographs. But as Alex digs into his grandfather's past, he stumbles across secrets that have been buried since World War II. Uncovering the truth could save Grandad... but it might also tear Alex apart.

    She meets the women of Lockerbie, who are fighting the U.S. government to obtain the clothing of the victims found in the plane s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim s families. THE WOMEN OF LOCKERBIE is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate. Winner of the silver medal in the Onassis International Playwriting Competition and the Kennedy Center Fund for New American Plays award.

    But it did.When Theresa brings James to a party as her date, it’s just for the night . . . and he knows that. But when everything goes horribly wrong, James drives his motorcycle off a cliff—and Theresa knows she’s responsible for his death.Theresa tries to run away from the pain, becoming a new young woman with a whole new life. She meets people, of course, but she never really makes connections—she’s too scared she’ll hurt them, too. But what Theresa discovers is that you can try to run away from the pain—but you can never really run away from yourself. The only way out is through. This compelling tale of love and loss is about broken hearts—and how to begin to repair your own.

    My feelings were raw, my thoughts were raw and hurtful like knife blades. . . . In the blue had been my place to hide, now In the raw there was nowhere to hide. Jenna Abbott separates her life into two categories: before the wreck and after the wreck, Before the wreck, she was leading a normal life with her mom in suburban New York. After the wreck, Jenna is alone, trying desperately to forget what happened that day on the bridge. She's determined not to let anyone get close to her -- she never wants to feel so broken and fragile again. Then Jenna meets Crow. He is a powerfully seductive enigma, and Jenna is instantly drawn to him. Crow is able to break down the wall that Jenna has built around her emotions, and she surprises herself by telling him things she hasn't told anyone else. Can Jenna bring herself to face the memories she's tried so hard to erase?

    A bag crammed with cash comes tumbling out of the air and lands right at Damian's feet. Suddenly the Cunningham brothers are rich. Very rich. They can buy anything they want. There's just one problem -- they have only seventeen days to spend all the money before it becomes worthless. And the crooks who stole the cash in the first place are closing in -- fast.A funny, brilliantly clever and utterly thrilling debut novel that is, quite simply, unforgettable.

    Kleinman, a logical man in a mad world, is indecisive and insecure; he doesn't want to get involved but everyone is after him to make a choice. He is even accused of being the culprit. When Kleinman confronts the maniac (who looks no different from anyone els

    It is a comical and brutally honest look at family dynamics, including stubborn parents and unequipped children, and explores the unsentimental poetry of everyday life. A one-woman tour-de-force for a powerful actress, MALA careens from comedy to deep pathos, while having the toughest conversation about the most common of events—the end of life.

    His work is inventive, disciplined and, at the same time, wild and evocative. His ear is splendid and his mind is agile.”—Edward Albee“An original, a maverick wordsmith whose weird, wry dramas gurgle with the grim humor and pain of life. Eno specializes in the connections of the unconnected, the apologetic murmurings of the disengaged.”—GuardianWinner of the 2004 Oppenheimer Award for best New York debut by an American playwright, The Flu Season is a reluctant love story, in spite of itself. Set in a hospital and a theater, it is a play that revels in ambivalence and derives a flailing energy from its doubts whether a love story is ever really a love story.Will Eno has been called “a Samuel Beckett for the Jon Stewart generation” (New York Times)—he is a playwright with an extraordinary voice and a singular theatrical vision. Also included in this volume are Tragedy: A Tragedy and Intermission.Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include Oh, the Humanity and other good intentions, The Flu Season, Tragedy: a tragedy, and Intermission.

    To find the bird, Mytyl and Tyltyl quest through the Land of Memory to the Palace of Night. The children get help from the good fairy Bérylune.

    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.

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.