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.

    Right is much easier said than done. While surrounding himself with his close group of girlfriends it comes to pass that the only thing harder than looking for love is supporting the loved ones around you. From the critically acclaimed writer who brought you Bad Jews.

    His best friend is too burnt out to provide any coherent speculation; his sister has gone goth; his ex-girlfriend has recently been institutionalized; and his other friends are too inebriated to give him any sort of solace. But a chance meeting with an artistic kid, the target of this group's bullying, offers CB a peace of mind and sets in motion a friendship that will push teen angst to the very limits. Drug use, suicide, eating disorders, teen violence, rebellion and sexual identity collide and careen toward an ending that's both haunting and hopeful.

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    Inspired by Frank Wedekind’s controversial 1891 play about teenage sexuality and society’s efforts to control it, the piece seamlessly merges past and present, underscoring the timelessness of adolescent angst and the universality of human passion.Steven Sater’s plays include the long-running Carbondale Dreams, Perfect for You, Doll (Rosenthal Prize/Cincinnati Playhouse), Umbrage (Steppenwolf New Play Prize), and a reconceived version of Shakespeare’s Tempest, which played in London.Duncan Sheik is a singer/songwriter who also collaborated with Sater on the musical The Nightingale. He has composed original music for The Gold Rooms of Nero and for The Public Theater’s Twelfth Night in Central Park.

    Playwright Olympe De Gouge, assassin Charlotte Corday, and former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, loose their heads, and try to beat back the extremist insanity in revolutionary Paris. This grand and dream-tweaked comedy is about violence and legacy, feminism and terrorism, art and how we actually go about changing the world. It a true story. Or total fiction. Or a play about a play. Or a raucous resurrection that ends in a song and a scaffold.

    a visionary work that bridges the history and culture of two worlds."--Frank Rich, New York TimesBased on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.TEXT OF THE BROADWAY REVIVAL

    Almost one hundred years later, a groom-to-be prepares for his gay wedding.Queers celebrates a century of evolving social attitudes and political milestones in British gay history, as seen through the eyes of eight individuals.Poignant and personal, funny, tragic and riotous, these eight monologues for male and female performers cover major events - such as the Wolfenden Report of 1957, the HIV/AIDS crisis, and the debate over the age of consent - through deeply affecting and personal rites-of-passage stories.Curated by Mark Gatiss, the monologues were commissioned to mark the anniversary of the 1967 Sexual Offences Act, which decriminalised homosexual acts in private between two men over the age of twenty-one. They were broadcast on BBC Four in 2017, directed and produced by Gatiss, and starring Alan Cumming, Rebecca Front, Ian Gelder, Kadiff Kirwan, Russell Tovey, Gemma Whelan, Ben Whishaw and Fionn Whitehead. They were staged at The Old Vic in London.This volume includes:The Man on the Platform by Mark GatissThe Perfect Gentleman by Jackie CluneSafest Spot in Town by Keith JarrettMissing Alice by Jon BradfieldI Miss the War by Matthew BaldwinMore Anger by Brian FillisA Grand Day Out by Michael DennisSomething Borrowed by Gareth McLean

    Her oldest daughter, Kess, is a university professor in Minneapolis, but she has come home at the request of her sister, Jo who is concerned for Evelyn's mental health. Kess, a professed lesbian, wants to cut her family ties once and for all; Jo, an incurable romantic and longtime virgin, has now become pregnant; while Sherry, salty-tongued and amoral, wants only to finish high school so she can leave home for good. In the end, there is no accommodation possible but, instead, only a kind of arbitrary independence for each of the protagonists, as they come to realize that each must find her own heaven or hell in her own way.

    A maverick English teacher at odds with the young and shrewd supply teacher. A headmaster obsessed with results; a history teacher who thinks he's a fool.In Alan Bennett's classic play, staff room rivalry and the anarchy of adolescence provoke insistent questions about history and how you teach it; about education and its purpose.The History Boys premiered at the National in May 2004.

    When Agnes finds Tilly's Dungeons & Dragons notebook, however, she stumbles into a journey of discovery and action-packed adventure in the imaginary world that was Tilly's refuge. In this high-octane dramatic comedy laden with homicidal fairies, nasty ogres, and 90s pop culture, acclaimed young playwright Qui Nguyen offers a heart-pounding homage to the geek and warrior within us all.

    Sweeping all major theater awards, including the 1996 Pulitzer Prize for drama, as well as four 1996 Tony Awards including Best Musical, Best Book, and Best Score for a Musical, Rent captures the heart and spirit of a generation, refleting it onstage through the emotion of its stirring words and music, and the energy of its young cast. Now, for the first time, Rent comes to life on the page -- through vivid color photographs, the full libretto, and an utterly compelling behind-the-scenes oral history of the show's creation. Here is the exclusive and absolutely complete companion to Rent, told in the voices of the extraordinary talent behind its success: the actors, the director, the producers, and the librettist and composer himself, Jonathan Larson, whose sudden death, on the eve of the first performance, has made Rent's life-affirming message all the more poignant.

    But before she can hit send, her girlfriend reveals that he has always identified as a man and now wants to start living as one.Now Alice must face a question she never thought she'd ask . . . does this mean she's straight?A bittersweet comedy about gender, sexuality and being a long way from home.A programme text edition which was published to coincide with the world premiere at Theatre503, London, on 27 October 2015

    But never has he blended these disparate elements into such a brilliantly cohesive whole as he has in Lips Together, Teeth Apart,hailed by Frank Rich of the New York Times as McNallys"most ambitious and most accomplished play yet."At the heart of this haunting play is a dramatically incisive portrait of two married couples - the Trumans and the Haddocks. Uncomfortable with themselves and each other, they are forced to spend a Fourth of July weekend at the Fire Island house that the brother of one of the women left his sister when he died of AIDS. Though the house is beautiful, it is as empty as their lives and marriages have become, a symbol of their failed hopes, their rage, their fears, and of the capricious nature of death. Acerbic and haunting, Lips Together, Teeth Apart probes the stifledlives of people and their prejudices with a stunning clarity that resonates long after.

    Their forbidden love soon draws everyone, including Queen Elizabeth, into the drama, and inspires Will to write the greatest love story of all time: Romeo and Juliet. Based on the Oscar-winning screenplay by Marc Norman and Tom Stoppard, Shakespeare in Love has been deftly adapted for the stage by Lee Hall and has been playing to rave reviews and a sold-out theatre at the Noël Coward in London. The London production is directed by Declan Donnellan and designed by Nick Ormerod, the driving force behind the world-renowned theatre company, Cheek by Jowl. A Broadway transfer is planned for Spring 2015.