Manifesting Ridley's vivid and visionary imagination and the dark beauty of his outlook, the play resonates with his trademark themes: East London, storytelling, moments of shocking violence, memories of the past, fantastical monologues, and that strange mix of the barbaric and the beautiful he has made all his own.The Pitchfork Disney was Ridley's first play and is now seen as launching a new generation of playwrights who were unafraid to shock and court controversy. This unsettling, dreamlike piece has surreal undertones and thematically explores fear, dreams and story-telling. First produced in 1991, it has gone on to be recognised as the annunciation of Ridley's dark and seductive world.

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    Don’t get me wrong—I read that literature myself. Why not? It is usually entertaining, if not suspenseful. In The Perennial Wanderer: An American in the World, however, it is my intent to demonstrate that life is indeed stranger than fiction, and I, not unlike the escapist writers, have invested much time and energy in bringing these life experiences to the reader. After working in so many countries—including war torn and conflictive countries such as Viet Nam, Colombia, Perú, Mozambique, Sudan and El Salvador—I have seen more than my share of violence, murder, mayhem, public corruption and chicanery. And none of my observations have taken place as a military man—my military experience, by the way, was in the peacetime Air Force in the beautiful Hawaiian Islands.

    Vashti has the best intimacy, best kisses, best sex of her life.

    They are travelling round the north of England by bicycle. But stranger thingsbegin to happen in the small hotel where they are staying.First, Brad seems to think that he has been there before. and then a girlcalled Ellen appears . . .The first of these three original plays is set in the seventeenth century, and the other two take place inmodern times. In each play, a ghost comes back fromthe dead to change the lives of living people.

    Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London. The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel. Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel

    It's an idyllic world grounded in family and friendship, a world full of farm chores and lazy afternoons swimming in the Wolf River with Frankie, his best friend.Things begin to change when Nelson finds himself falling in love with Mary Alice, the blind orphan spending the summer with his aunt. While dealing with the emotional rollercoaster of first love, Nelson learns the secret his best friend has been harboring (he's gay and his alcoholic father beats him for it) and nearly trashes his life-long friendship with Frankie. Just when it seems the two boys have worked it all out, saving their friendship, a mysterious stranger comes to town on an exotic motorcycle and interjects himself into their world, giving Frankie the chance to explore his burgeoning sexuality--with horrific consequences. Capped by the devastation of Hurricane Camille, no one escapes unscathed from those six weeks in the summer of '69.Told with narrative drive that pulls you completely into the story, A Death on the Wolf is an uncompromising coming of age tale full of hard-hitting issues which are tackled head-on with courage; not only by the author, but by the characters he's created. "Real, gritty, heartwarming, with characters and a setting you can see, feel, and taste" (The Kindle Book Review), Nelson's unvarnished fictional memoir will introduce you to a time and place that is no more--and yet shows how courage, love, and friendship are timeless concepts in the face of life's trials and tribulations.

    

    This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    This new volume collects the author’s plays written in the past five years, including References to Salvador Dalí Make Me Hot ("effortlessly melds otherworldly fantasy with gritty realism to make sparks fly onstage."—The Journal News), Sueño (a reworking for Pedro Calderón’s Life is a Dream) and Sonnets for an Old Century, the author’s most recent work, which recently premiered in Los Angeles.Puerto Rican-born playwright José Rivera plays have been produced all over the world and his work has been translated into seven languages. His best known work includes Marisol and Each Day Dies with Sleep. "Rivera has a messianic mission to replace old and dying creeds with vibrant new visions."—Robert Brustein, New RepublicAlso available by José RiveraMarisol and Other Plays PB $15.95 1-55936-136-0 • USA

    A Journey. Misfortune. Anastari had always wondered what lay beyond the borders of Sorsani. She yearned to see the places her new husband Blorzen told her about for herself and wanted to explore the other regions. Blorzen is just as eager to explore Rendal but was unsure about its people. With their prearranged lives as land owners set to start as soon as the celebration was over, they plan their trip and leave the farm. As expected they encounter predators and exhaustion along the way, but see amazing landscapes and machines more advanced than anything in Sorsani. Soon frigid temperatures and elusive shelter hinder their journey. They continue north into the next region, headed towards a city that could hold treasures or tragedy. Will they survive and make it back home? A New Life is the first novella in the Chronicles of the Reverie. If you like discovering new worlds, clean romances and action packed journeys then you'll love this sci-fi adventure by Natomi Karkael. Buy A New Life and start the journey today! Explore maps of Rendal and more at www.natomikarkael.net

    

    She meets and joins up with Lloyd Bophtelophti, a true "original" who has changed his name to avoid alimony payments and who now lives with a paraplegic named Pootie (who also pretends to be deaf in order to get double disability). Thus begins a series of picaresque escapades involving numerous psychiatrists, a TV game show, and, eventually, an ill-fated reunion with her husband. Filled with bizarre characters and events, the play reflects the fractured lifestyles which have become the norm for so many in our tenuous times.

    Uncovering a great many personal anecdotes, Spike reveals his extraordinary sense of humour, his ongoing battle with a restless mind, his remarkable, life-long friendships with Peter Sellers and Eric Sykes, his relationship with his family and the industry, and his heartening struggles with society at large.

    I've acted for Belasco and I've laid 'em out in the rows at the Palace. I've doubled as an alligator; I've worked for the Shuberts; and I've been joined to Billy Rose in the holy bonds. I've painted the house boards and I've sold tickets and I've been fired by George M. Cohan. I've played in London before the king and in Oil City before miners with lanterns in their caps. Fanny Brice was indeed show business personified, and in this luminous volume, Herbert G. Goldman, acclaimed biographer of Al Jolson, illuminates the life of the woman who inspired the spectacularly successful Broadway show and movie Funny Girl, the vehicle that catapulted Barbra Streisand to super stardom. In a work that is both glorious biography and captivating theatre history, Goldman illuminates both Fanny's remarkable career on stage and radio--ranging from her first triumph as Sadie Salome to her long run as radio's Baby Snooks--and her less-than-triumphant personal life. He reveals a woman who was a curious mix of elegance and earthiness, of high and low class, a lady who lived like a duchess but cursed like a sailor. She was probably the greatest comedienne the American stage has ever known as well as our first truly great torch singer, the star of some of the most memorable Ziegfeld Follies in the 1910s and 1920s, and Goldman covers her theatrical career and theatre world in vivid detail. But her personal life, as Goldman shows, was less successful. The great love of her life, the gangster Nick Arnstein, was dashing, handsome, sophisticated, but at bottom, a loser who failed at everything from running a shirt hospital to manufacturing fire extinguishers, and who spent a good part of their marriage either hiding out, awaiting trial, or in prison. Her first marriage was over almost as soon as it was consummated, and her third and last marriage, to Billy Rose, the Bantam Barnum, ended acrimoniously when Rose left her for swimmer Eleanor Holm. As she herself remarked, I never liked the men I loved, and I never loved the men I liked. Through it all, she remained unaffected, intelligent, independent, and, above all, honest. Goldman's biography of Al Jolson has been hailed by critics, fellow biographers, and entertainers alike. Steve Allen called it an amazing job of research and added Goldman's book brings Jolson back to life indeed. The Philadelphia Inquirer said it was the most comprehensive biography to date, and Ronald J. Fields wrote that Goldman has captured not only the wonderful feel of Al Jolson but the heartbeat of his time. Now, with Fanny Brice, Goldman provides an equally accomplished portrait of the greatest woman entertainer of that illustrious era, a volume that will delight every lover of the stage.