At first, the new doctor cures anything

    This 1960's French farce adapted for the English-speaking stage features self-styled Parisian lothario Bernard, who has Italian, German, and American fiancees, each beautiful airline hostesses with frequent "layovers." He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

    The Kos family argue, adapt, fall in and out of love.I will never understand why dinner conversation with you lot always turns so damn contentious. Why can’t we have some pleasant anecdotes for example.World after world is erected and torn down around them. The one constant is the ivy-clad house in Zagreb, built by aristocrats, partitioned, owned by all, owned by a few; witness to four increasingly educated and independent generations of women.But when the family assemble for Lucia’s wedding, Alisa learns that her nouveau-riche brother-in-law has bought the once nationalized house. For the bride this is progress, for her sister it’s a shady act of greed. For their principled parents, finally, it’s one battle too many.

    The guide presents the major debates that surround these works as they develop, from Martin Esslin's early appropriation of the plays as examples of the Theatre of the Absurd, to recent poststructuralist and postcolonial readings by critics such as Steven Connor, Mary Bryden and Declan Kiberd. Throughout, Boxall clarifies and contextualizes critical responses to the plays, and considers the difficult relationship between Beckett and his critics.

    She is in love with young Artashes Otaryan, son of Elizbarov's late companion. Soon Artashes reveals to her the secret that his family has kept for years -- Elizbarov had stolen the fortune of his former companion; as a proof he presents to her Elizbarov's letters to his father. Margarita is appalled by her father's loss of honor, and is torn between her duty as a daughter and her sense of right and wrong.

    Using the format of an end-of-term play, the new drama teacher's progress through two terms of recalcitrant classes, synical colleagues and obstructive caretakers is reviewed. Disillutioned, he departs for a safer private school.

    Brant’s writing [is] taut, terse and concentrated on exposing the fissures that open in the heroine’s confidence and sense of honor... Grounded has a grimly fresh topicality." - New York Times"Propulsive drama... A fascinating exploration of personality, Grounded is, of course, all the more interesting because the subject of drone warfare is so much in the news... Thought-provoking." - Washington Post"Brant’s sharp-eyed, timely script... lets no one off easy; it forces the audience into a greater awareness of our own complicity in America’s drifts. Clap all you want at the end of the play—and you’ll want to clap a lot—but the game stays with you." - Time Out New York"Brant's drama is ready for prime time... Compelling and provocative." - San Francisco Chronicle"I was blown away... Grounded powerfully focuses on the human element... Don't miss it." - The Nation"Gripping... A play that challenges us to consider the moral and mortal conflict that is so much a part of our dangerous world... Delivers quite the gut punch... Grounded could not be much more timely." - Baltimore SunSeamlessly blending the personal and the political, Grounded tells the story of a hot-rod F16 fighter pilot whose unexpected pregnancy ends her career in the sky. Repurposed to flying remote-controlled drones in the Middle East from an air-conditioned trailer near Vegas, the Pilot struggles through surreal twelve-hour shifts far from the battlefield, hunting terrorists by day and being a wife and mother by night. A tour de force play for one actress, Grounded flies from the heights of lyricism to the shallows of workaday existence, targeting our assumptions about war, family, and the power of storytelling.Winner of the 2012 Smith Prize, a 2013 Scotsman Fringe First Prize, and Shortlisted for the Amnesty International Freedom of Expression Award 2013 at the Edinburgh Fringe Festival, 2013.

    Overseas, war is raging in Vietnam, Civil Rights marches are on the streets, and women’s liberation is stirring – but at home in Corrigan Charlie Bucktin dreams of writing the Great Australian Novel. Charlie’s 14 and smart. But when 16-year-old, constantly-in-trouble Jasper Jones appears at his window one night, Charlie’s out of his depth. Jasper has stumbled upon a terrible crime in the scrub nearby, and he knows he’s the first suspect – that goes with the colour of his skin. He needs every ounce of Charlie’s bookish brain to help solve this awful mystery before the town turns on Jasper. Kate Mulvany’s adaptation of Craig Silvey’s award-winning novel is wise and beautiful. A coming-of-age story, Jasper Jones interweaves the lives of complex individuals all struggling to find happiness among the buried secrets of a small rural community.Whether you know the book or not, this piercing adaptation is very much worth seeing for the way it depicts – and shows ways across – some of the deep and enduring divides in our society." - Jason Blake SMH

    The play had its world premiere at the Cherry Lane Theatre in New York in spring 2013, starring Jesse Eisenberg and Vanessa Redgrave and directed by Kip Fagan.In The Revisionist, young writer David arrives in Poland with a crippling case of writer’s block and a desire to be left alone. His seventy-five-year-old second cousin Maria welcomes him with a fervent need to connect with her distant American family. As their relationship develops, she reveals details about her postwar past that test their ideas of what it means to be a family.

    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.

    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.

    Her characters suffer and survive against the enormous weight of the times with a dignity that inspires. Her work challenges the audience and reader to reexamine the conflicts and meaning of our everyday lives through her singular, poetic imagery and language.Includes: One Flea SpareIn the Heart of AmericaSlaughter CityThe War BoysThe Trestle at Pope's Creek

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    For use with Grades 2-4.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.