He has two manuscripts but lacks the funds to publish both. His difficult decision--whether to publish his lover's memoir or the novel written by his best friend--is further complicated by the arrival of a mysterious machine that produces pages predicting the future of the play's protagonists, affecting their lives and relationships in haunting and unexpected ways. "The Violet Hour" opened on Broadway on November 6, 2003, starring Robert Sean Leonard.

    Boom tells the story of an elderly woman and her property agent son in Singapore, who are struggling over the potential en bloc sale of their home. Their destinies become interwoven with that of an idealistic civil servant, Jeremiah, who is facing the greatest challenge of his career—persuading a reluctant corpse to yield its memories. Boom is a quirky yet poignant tale about the relocation of both dead and living, and how personal stories get left behind in the inexorable march of progress.Written by economist-turned-playwright Jean Tay, Boom was conceptualised at the Royal Court Theatre in London in 2007, and developed and staged by the Singapore Repertory Theatre in September 2008. It was nominated for Best Original Script for The Straits Times’ Life! Theatre Awards in 2009 and is now an O- and N-Level Literature text in Singapore schools.“Jean Tay is one of the most gifted playwrights I have come across in years.” —Gaurav Kripalani, Artistic Director, Singapore Repertory Theatre

    In Autobahn, Neil LaBute's provocative new collection of one-act plays set within the confines of the front seat, the playwright employs his signature plaintive insight to great effect, investigating the inchoate apprehension that surrounds the steering wheel. Each of these seven brief vignettes explore the ethos of perception and relationship--from a make-out session gone awry to a kidnapping thinly disguised as a road trip, a reconnaissance mission involving the rescue of a Nintendo 64 to a daughter's long ride home after her release from rehab. The result is an unsettling montage that gradually reveals the scabrous force of words left unsaid while illuminating the delicate interplay between intention and morality, capturing the essence of middle America and the myriad paths which cross its surface.

    Released from prison after serving time for killing the man who murdered his wife, John Henry Trapp returns to his mountain home, where his enemies are waiting to put him six feet under.

    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.

    Telling jokes for money offers an escape from the building site or the milk round. But the humour is a deadly serious business that also involves anger, pain and truth.' Financial Times'Trevor Griffiths has not shown his brilliance as a writer more clearly than in Comedians.' Daily Telegraph

    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.

    Encountering one problem after another, she hasn’t been able to catch a break. A ray of light finally breaks through Honey Dipp's gloomy world when she meets super sexy GUY SANTOS. Not only does he give Honey the most breathtaking sex she's ever experienced, but he gives her his heart. Honey is in bliss! But when Honey Dipp's sordid past forges its way into the relationship, will Guy continue to love her or will he leave Honey broken and shattered like so many others have? Exactly how strong is a man's love when it's challenged by a woman's ugly secrets?

    Wes survived and now, he's plotting his revenge. He's gonna have to stay one step ahead of these self-appointed executioners -- because they ain't likely to make the same mistake twice.

    Until one night in London. Just two months before graduating from a posh London Ladies college, and while planning her lavish wedding to her childhood sweetheart, Noora is framed by her sister who masterminded a plot to destroy Noora's happiness. Believing she has shamed him and in order to preserve his family name, Noora's father attempts to drown her in an act of "honor killing." Unbeknownst to him, she survives. Barely clinging to life, she flees from her father's mansion and is rescued by a tribe of Bedouins. Still in danger, Noora travels nearly half way around the world in search of sanctuary. All along her path she must hide her true identity, while hoping to return one day and prove her innocence. However, she is relentlessly stalked by her fundamentalist former bodyguard who discovered she is still alive and vows to bring her back to "justice." Follow Noora on this remarkable journey of courage and survival against all obstacles. Light of the Desert shares the moving tale of a Middle Eastern woman's remarkable journey of survival, courage, and the ultimate act of humanity. "... A truly inspiring and engrossing novel..." -Connie Harris, MyShelf.com

    

    On the way he encounters many adventures, strives to solve a mysterious theft, and meets an old friend getting ready for gladiatorial combat. In other stories we visit Elissa, the evil priestess, and Vespillo, the trusty watchman, and discover more about their colourful histories. We see a young boy’s first battle, and travel all the way to the barbaric Hadrian’s Wall. These are vivid tales of ancient Rome, perfect for fans of Wallace Breem, Simon Scarrow and Ben Kane.

    

    Ayckbourn's series of plays for 4-5 actors typify his black comedies of human behaviour. The plays are alternately naturalistic, stylised and farcical, but underlying each is the problem of loneliness. The Mother Figure shows a mother unable to escape from baby talk; in The Drinking Companion, an absentee husband attempts seduction without success; in Between Mouthfuls, a waiter oversees a fraught dinner encounter. A garden party gets out of hand in Gosforth's Fete, whilst A Talk in the Park is a revue style curtain call piece for the five actors. Whether the comedies concern marital conflict, infidelity or motherhood and take place on a park bench or at a village fete, the characters are familiar and their cries for help instantly recognisable. Principally he is respected as a radical re-inventor of form - Dominic Dromgoole.

    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.