So when the British Secret Service asks him to become their ‘man in Havana’ he can’t afford to say no. There’s just one problem…he doesn’t know anything! To avoid suspicion, he begins to recruit nonexistent sub-agents, concocting a series of intricate fictions. But Wormold soon discovers that his stories are closer to the truth than he could have ever imagined… In Clive Francis’ adaptation, Graham Greene’s classic satirical novel becomes a wonderfully funny and fast-moving romp.

    Its lyrical scenes still etch a portrait of Cyrano as a man of uncompromising bravery except in matters of the heart. They come off beautifully in the intimate off-Broadway-size Roundabout Theater. To the open minded, Langella's work will hardly seem felonious and it may be a breakthrough!" --David Patrick Stearns, U S A Today"Frank Langella has abridged the text and given the play a bare-bones production shorn of extravagance. CYRANO is compelling enough in its characterizations, dialogue and situations to withstand minimalism." --Frank Scheck, Hollywood Reporter"Frank Langella's adaptation is relatively short, fast and intimate. The speed of the shortened version allows the ideas behind the play to emerge with great force and clarity. The result is a terrifically enjoyable and surprising thought-provoking piece of theater." --Fintan O'Toole, Daily News, New York

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    Amy is curled up on the locker room floor. DRY LAND is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.

    For each, the chaos of what has come before brings with it a painful legacy.“I have Stayed. I have Stayed – I have Stayed for as long as I possibly can.”

    Concerned something has happened to her husband, Jill follows a string of clues to try and find out the secret Charles was keeping from her.

    Theatre script, playbook

    Meanwhile, all's not well on the unassuming Midwestern streets of Bloggs: with local children vanishing at an alarming rate, our hero, his lady friend, and a motley assortment of poets, butchers, and punk librarians prepare to battle the darkness on the edge of town.

    Three candidates. This would be a really bad time to have a stain on your shirt...A savage, acid-tongued new play by Mike Bartlett, one of the UK's most exciting and inventive young writers, and the author of the off-Broadway smash hit Cock. Razor sharp and blackly comic, Bull is a savage and insightful play about office politics or playground bullying, depending which side you're on. Genuinely thrilling, daring and inventive, acclaimed playwright Bartlett probes the dark side of the modern workplace.Bull enjoyed its US premiere in spring 2013 at 59E59 Theaters's "Brits Off-Broadway" festival.

    From high-class hookers to 7/7 survivors these monologues paint a revelatory picture of Britain as it is today. After rave reviews at the 2008 Edinburgh Festival and in New York, "Eight" opened in London's West End in July 2009.

    In this stage version by Philip Wilson, you’ll meet the familiar characters – Little Red Riding Hood, Rapunzel, Hansel and Gretel – and some unexpected ones too, such as Hans-My-Hedgehog, the Goose Girl at the Spring and the remarkable Thousandfurs.Full of deliciously dark twists and turns, the tales come to life in all their glittering, macabre brilliance – a delight for children and adults alike.These Grimm Tales were first performed as immersive storytelling experiences underneath Shoreditch Town Hall, London, in 2014, and Bargehouse on the South Bank in 2015. They also offer plentiful opportunities for youth theatres, schools and amateur companies looking for a vivid new version of the classic fairytales.

    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.

    A series of scenes that gradually tell the story of how the financial collapse affects a British couple and how fiscal worry, stress, and fear can strain mankind's greatest emotion.

    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.