He shuts all the windows to keep in his mother’s familiar smell and scratches open the cut on his knee to remember her comforting voice. He doesn’t know how to speak to his dad anymore, and when Grandma visits and throws open the windows, it’s more than the boy can take—until his grandmother shows him another way to feel that his mom’s love is near. With tenderness, touches of humor, and unflinching emotional truth, Charlotte Moundlic captures the loneliness of grief through the eyes of a child, rendered with sympathy and charm in Olivier Tallec’s expressive illustrations.

    It is a friendship that children who read this book will long remember.

    Songs include: Heaven on Their Minds * Everything's Alright * Hosanna * Pilate's Dream * I Don't Know How to Love Him * The Last Supper * I Only Want to Say (Gethsemane) * King Herod's Song * Superstar.

    Laugh with the actors, tap your feet to the music, and turn to your neighbor.

    "Ravenhill has more to say, and says it more refreshingly and wittily, than any other playwright of his generation"—Time Out "There are few stage authors writing more interestingly than Mark Ravenhill … He is - it is now yet more evident - a searing, intelligent, disturbing sociologist with a talent for satirical dialogue and a flair for sexual sensationalism."—Financial Times Shopping and Fucking: "is a darkly humorous play for today's twenty-somethings … a real coup de theatre"—Nicholas de Jongh, Evening Standard Faust: "…an intelligent and witty reappropriation of the legend … alive, pertinent and disturbing"—Michael Coveney, Observer Handbag: "…combines urban grit with sly wit, and reveals Mark Ravenhill as a writer of real daring" —Daily Telegraph Some Explicit Polaroids: "laudably ambitious, pulsates with energy … very funny"—Financial Times

    Theatre script, playbook

    He is sent to Italy by a wealthy financier to try and coax home the rich man's son. In the process Ripley becomes both attracted and seduced, finding the murder the only way to deal with the situation. From that point Ripley tries to cover up his crime. Patricia Highsmith's beguiling tale of morality and amorality is given a dramatic rendering by contemporary dramatist Phyllis Nagy, who knew Highsmith in her later years in Paris."Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)

    Writing with a pitch and heat that gets to the heart of the unforgiving classical world, Carson, a poet and classicist, translates four of the eighteen surviving plays by Euripides.Includes Heracles, Hecuba, Hippolytus, Alcestis.

    But her sudden premonition of their lives in 1937 casts a shadow over their dreams and expectations.

    Let's take check: Finn Bar, slightly ruffled but still in fighting form. Maggie, could do with a full night's sleep but otherwise all in order... Stay here. Don't answer the door. I'll go out and get some proper food.In a new flat, three children play hide and seek. Eliot wears a crown, little Finn, King of the Wild Thing's, draws on the walls. Maggie climbs them. Hiding from the world, needing to be found, their one shared focus a mobile phone. Will it ring? Who will call? And what are they waiting for?Tusk Tusk is a tale of family loyalty as an uncertain future circles. Polly Stenham's second play premiered at the Royal Court Theatre, London, in March 2009.

    It’s been eighty-three days since Annie Lee’s daddy died, but she still sees reminders of him everywhere. His record player mysteriously plays his favorite songs, there’s shaving cream in the sink every morning, and the TV keeps flipping to the Duke basketball games he loved.She knows Mama notices it too, but Mama’s been working around the clock to make ends meet. To make matters worse, Annie Lee’s friends ditched her over the summer. She feels completely alone—until she meets Mitch.Though Mitch is tough and confident on the outside, she may need a friend just as badly as Annie Lee. But after losing so much, Annie Lee is afraid to let anyone get too close.And Mitch isn’t the only friend trying to break through Annie Lee’s defenses. Ray, an elderly pianist who plays at a local mall, has been giving her piano lessons. His music is pure magic, and Annie Lee hopes it might be the key to healing her broken heart. But when Ray goes missing, searching for him means breaking a promise to Mitch.Faced with once again losing those who mean the most to her, Annie Lee must make a choice: retreat back into her shell, or risk admitting how much she needs Mitch and Ray—even if it means getting hurt all over again.Just like in her debut, Where the Watermelons Grow, Cindy Baldwin brings her signature twist of magic to this authentically heartfelt story.

    He hasn't been to school in weeks. His hands are cracked and bleeding from cleaning. He refuses to leave his bedroom. To pass the time, he observes his neighbors from his bedroom window, making mundane notes about their habits as they bustle about the cul-de-sac. When a toddler staying next door goes missing, it becomes apparent that Matthew was the last person to see him alive. Suddenly, Matthew finds himself at the center of a high-stakes mystery, and every one of his neighbors is a suspect. Matthew is the key to figuring out what happened and potentially saving a child's life... but is he able to do so if it means exposing his own secrets, and stepping out from the safety of his home?

    Now, one half of the duo, Ethan Coen, adds playwriting to his eclectic bio. In these three short plays that ran to sold-out audiences Off-Broadway in 2008, the theme is hell–both on earth and in the hereafter.In “Waiting,” a man faces an uncertain future in an uncertain location that seems to be some kind of waiting room. The anxiety and despair hark back to dramas of the fifties–Sartre, Beckett, Pinter.“Four Benches” depicts an unlikely meeting in a steam room between a straight-talking Texan and an uptight Brit. Both men learn from the encounter, though only one survives it.In “Debate,” the cantankerous god of the Old Testament roundly abuses the mealymouthed god of the New. His profanity and ill humor receive a startling comeuppance, and further reversals and changes of point of view lead to a denouement that is no more preposterous than anything else in the play.Clever, provocative, and as engaging as the best fiction, these plays showcase yet another talent of one of our most celebrated contemporary writers.

    His parents are both scientists and they usually have all the answers. Dad mutters something about Albie's mum being alive and with them in a parallel universe. So Albie finds a box, his mum's computer and a rotting banana, and sends himself through time and space to find her...

    Morgan puts poet and insurance tycoon Lyman Felt in the hospital. While Lyman recovers, two women meet in the hospital to discover that they are both married to him. With his secrets exposed, Lyman tries to justify himself to the two women--the prim, cultured Theo and the restless, ambitious Leah--at the same time hoping to convince himself that he is blameless. Moving between broad farce and delicate tragedy, The Ride Down Mt. Morgan reveals the struggle between honesty with others and honesty with oneself. This new edition incorporates the revisions Miller wrote for the acclaimed 1998 Public Theatre production starring Patrick Stewart.