The Carney farmhouse is a hive of activity with preparations for the annual harvest. A day of hard work on the land and a traditional night of feasting and celebrations lie ahead. But this year they will be interrupted by a visitor.Developed by Sonia Friedman Productions, The Ferryman premiered at the Royal Court Theatre, London, in April 2017, before transferring to the West End. The production was directed by Sam Mendes.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    He didn't expect Darlene Johnson to walk into his office with her chocolate box. And certainly didn't expect what followed. . Book One of the Detectives That Don't Fit Series.

    She had felt that Hercule Poirot should not have been included in the plot, and for the stage she removed him entirely

    Their idyllic, brief childhood together is short lived ending in hardship and heartbreak. Finding themselves alone in the world, both boys struggle to self-educate. Against the odds, Matthew Gray builds a global business empire and Luke Mbeki travels to England, in self-imposed exile, entangling himself in the anti-apartheid movement. With their paths crossing intermittently, it is only when Nelson Mandela is released from prison that Luke returns home continuing his fight for freedom alongside his comrades. Matt’s all-consuming business life continues but betrayal strikes. Leaving everything behind, he escapes to another world – an artist colony.This incredibly powerful and moving story tells how each man struggles to survive in a country deep in the throes of violent change, with friendship and families being torn apart. Matt and Luke's friendship is unimaginably tested so how does it survive in such terrifying and perilous times?

    Ann’s clearest memory is performing as Peter Pan in grade school, complete with the distinct elation of feeling she never had to grow up. A lyrical new play about yearning for youth, the pangs of aging, and the enduring bonds of family.

    As the composer, lyricist, actors and director prepare their performance, and a blizzard cuts off any possible retreat, bodies start to drop in plain sight, knives spring out of nowhere, masked figures drag their victims behind swiveling bookcases, and accusing fingers point in all directions. However, and with no thanks to the bumbling police inspector who snowshoes in to investigate, the mystery is solved in the nick of time and the "Slasher" unmasked-but not before the audience has been treated to a sidesplitting good time and a generous serving of the author's biting, satiric and refreshingly irreverent wit.

    From the moment they laid eyes on one another, it was love at first sight. One problem is wrong with that; they’re both in a committed relationship. Being with her abusive fiancé for 8 years, Teyana saw no way out of her situation. Gambino on the other hand was ready to call it quits with his longtime girlfriend. Only problem behind it is, she refuses to let go without a fight. Take a ride with Teyana and Gambino as they show us how being in love can make you be disrespectful without thinking twice.

    As a single mother and inspiring artist she always managed to get by. It wasn't until she "accidentally " fell in love with a charming and romantic Atlien by the name of Ace, did she feel that her luck was changing. Things take a fast forward in their relationship and seemed to never be coming to an end, until one night Ace's past meets them in a dark alley in the mean Atlanta streets. Sage knows there is no going back from here, as she finds that you never really know a person until its too late. As her mind and heart battle it out, she's determined to keep her fairytale love story from turning into a nightmare. But what happens when Ace leaves her, and she is forced to face the truth alone? She doesn't have it all put together yet, but even after he is gone his past comes back to haunt her; demanding that she pay off his debts. Ace's mother Lillian seems to be keeping his secrets airtight as well, but reassures Sage she has nothing to fret about. Entangled in a web of love, lies, and deceit; Sage can only put her trust into her best friend Shelly. Will love conquer all for Sage or will she drown in the lies of her King?

    Now available in the Arcade definitive edition, the Lehrstucke (or learning plays) lie at the heart of Brechtian theater.

    Catherine's lack of worldliness prevents her from realizing that the young man proposing to her is not entirely drawn to her by her charm. Catherine's father, a successful doctor, sees through the fortune hunter and forbids the marriage, but his daughter proposes an elopement that fails to materialize because the young man knows most of her expected fortune will go elsewhere if he marries her. Catherine retires into a little world of her own. But the fortune hunter turns up once more and again proposes to her. For a moment, Catherine leads him to believe that she will accept him, but when he calls by appointment, she locks the door, blows out all the lights and allows him to realize that she will not be fooled for the second time.

    Contemporary and unnerving the story explores the pressures of teenage life as as group of educated, intelligent young people begin to plan for college and the rest of their lives with the step-by-step, dislocated, latent violence simmering under the surface of success revealed.

    The first published play by an African American writer, The Escape explored the complexities of American culture at a time when tensions between North and South were about to explode into the Civil War. This new volume presents the first-edition text of Brown’s play and features an extensive introduction that establishes the work’s continuing significance.The Escape centers on the attempted sexual violation of a slave and involves many characters of mixed race, through which Brown commented on such themes as moral decay, white racism, and black self-determination. Rich in action and faithful in dialect, it raises issues relating not only to race but also to gender by including concepts of black and white masculinity and the culture of southern white and enslaved women. It portrays a world in which slavery provided a convenient means of distinguishing between the white North and the white South, allowing northerners to express moral sentiments without recognizing or addressing the racial prejudice pervasive among whites in both regions.John Ernest’s introductory essay balances the play's historical and literary contexts, including information on Brown and his career, as well as on slavery, abolitionism, and sectional politics. It also discusses the legends and realities of the Underground Railroad, examines the role of antebellum performance art—including blackface minstrelsy and stage versions of Uncle Tom's Cabin—in the construction of race and national identity, and provides an introduction to theories of identity as performance.A century and a half after its initial appearance, The Escape remains essential reading for students of African American literature. Ernest's keen analysis of this classic play will enrich readers’ appreciation of both the drama itself and the era in which it appeared.The Editor: John Ernest is an associate professor of English at the University of New Hampshire and author of Resistance and Reformation in Nineteenth-Century African-American Literature: Brown, Wilson, Jacobs, Delany, Douglass, and Harper.

    loyal, trustworthy, and discreet. But his adored employer — the internationally famed portrait painter Jacqueline di Fidelio — suddenly finds herself in hot water with the IRS, the FBI, and two dangerous, attractive men. And Nigel discovers his duties expanding in a most unexpected way....As Madam jets from one glamorous playground to the next, Nigel turns spy and protector to fend off those who would do Jacqueline wrong. For in Nigel’s opinion, his irresistibly alluring employer’s torturous past has rendered her as unstable as a house of cards. Yet when one of Jacqueline’s simpering socialite clients is murdered — and then another mysterious death follows while Jacqueline is on the scene — Nigel begins to wonder if he has it all wrong. Is the woman to whom he has dedicated his life simply an innocent victim of careless, callous men? Or is she a heartless manipulator whose mask of black Prada and pearls hides the tortured secrets of a ruthless killer?

    It is the second play Maeterlinck wrote.Intruder concerns man's conflict with preternatural forces, against which he is powerless. The same theme was prevalent in Maeterlinck's first written play, Princess Maleine.The first performance of Intruder occurred at Paul Fort's Theatre d'Art in Paris on May 20, 1891. The play was to appear at the end of a program benefiting Paul Verlaine and Paul Gauguin. If the program went on too long, then the play was to be removed.