Her goal was to become an accountant and work her way up to run her own company. Unfortunately, before her 21st birthday changes had to be made in her life that would cause her to leave everything she once knew behind; including her mother.Caleb was your average bachelor that ran through women like water. The problem was he wanted to settle down but never found anyone good enough to do that with.When Kharis and Caleb finally meet face to face, sparks fly and a flame is ignited in both of them that won't allow either one of them to walk away; no matter what obstacles are placed in front of them. The two of them will take a journey unlike any other showing everyone that it's ok to have that different kind of love.

    So when a strange woman turns up with promises of a new life in Liverpool, she is thrilled.Warm-hearted and kind, Phyl is everything she wants in a stepmother. But then Lizzie falls in love with the one man who should have been out of bounds. Should she follow her heart and risk losing it all? From the author of A Sister’s Duty and Lily’s War (Note: previously published as Going Home to Liverpool)

    But when it does, it forebodes something ominous. For Tina, the first bolt of lightning was her Brain Tumor. Before she could recuperate from that, the second bolt sizzles through the air around her. The Other side - a world similar to ours, connected to ours - faces an impending war that can spell the end of more than one world. An ancient clan is back to wreak havoc and reduce everything to naught. As she meets strange men with stranger abilities in treacherous, testing surroundings, where everyone's after her, eager to turn the tide their way, Tina only hopes to have a home to return to.

    He has a job he loves, a vivacious, pregnant wife, a young son and a beautiful home in Evergreen, Colorado. Bruce's life is rewarding, full, and his position is seemingly secure. Suddenly, an accident in Reno, Nevada, threatens to snatch away everything he cherishes: his family and his career. Bruce was in command of the ill-fated flight, and the airline and FAA blame him for the catastrophe.Bruce soon finds himself fighting against powerful enemies: the airline's bosses, the government, his wife's wealthy mother, and other unseen but dangerous adversaries. Just when Bruce's situation seems hopeless, help arrives from several sources: David Goldstein, an investigative reporter, reveals that there is much more to the accident than meets the eye. Mike Barrow, a retired Marine colonel and close friend of Bruce's, joins the investigation only to find himself thrust into the corporate intrigue at the highest level. Ava O'Kane, a thirty-eight-year-old executive within the circle of power at the airline, makes a shocking discovery of corruption within the organization and she has to choose between evil and good, love and money.Finally, pushed to the limit, Bruce takes control of his predicament in an unprecedented and decisively violent, though legal manner. It's the only way he can stop the conspiracy. In the process of saving himself, his career and his company, can an airline captain get away with murder?

    Kolkata had frozen to its lowest of -15 degreecelcius. Widespread diseases were common. Sharat was no exception as he was forced to quit his Zamindar lifestyle after his parents died. On the other hand in 2018, there was Niharika, living in the best of times - in a fairly modern society. She loved her life - her group of friends, her family and everything around her. Little did they know that something awaited them far away in a deserted civilisation 6 billion years into the future; in the planet Nocturne which was ravaged by compounds of a rare element called Barrenium. A Year Without Summer is a tale on how lives can intertwine with no restrictions in space time and dimensions.

    One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.

    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.

    Theatre script, playbook

    Feeling like what they have is real, Canary’s more than willing to go however many rounds necessary with Kalena to get her point across. Just when Canary thinks things have settled down, Laxton hits her with another curveball: baby talk. Still scarred from her prior miscarriage, the thought of parenthood scares Canary, but Laxton just might be the one to help her overcome her fear. Canary is like a breath of fresh air to Laxton and his family, and the only thing that could make life better is Canary saying she’s ready to call Houston home. With his eye on the prize, Laxton is focused on the future and putting a few babies up in Canary, but his past won’t let him be great. No matter how much he pushes her away, Kalena is the ultimate headache for Laxton and refuses to let the next chick replace her. Kalena says nothing but death can keep her from Laxton, but the question is, whose life will be lost when it’s all said and done? Kenji and Silk may seem like the most unlikely couple, but when she agrees to stick by his side after finding out just how he makes his money, he knows he’s got a real one for sure. Kenji’s heart tells her that Silk is the one, and when he introduces her to his family, he knows Kenji is all he’ll ever need. When they least expect it, a bomb that Makiyah drops threatens to shatter the love Kenji and Silk think they’re building together. Will he be able to love Kenji past her flaws, or will their perfect love story end before they can make it to the altar? On top of that, Silk learns some shocking news that has him out for blood. Determined to destroy all that threatens his mission to uncover the truth, Silk just might sacrifice someone in his inner circle. Makiyah is hit with the ultimate betrayal when she learns the truth about her sister, Maleeah, and Ali. Through it all, the one thing that’s kept her smiling is knowing her mother will be released from prison soon. Maleeah has other plans, though, and when she shows up to steal her sister’s thunder yet again, Makiyah is faced with a hard decision: stay true to her love for Ali, or make him and Maleeah pay for their betrayal. Which path will she choose? Get ready to jump right back to the thick of things with Canary, Laxton, Kenji, Silk, Makiyah, and Keylon as they all fight to win the same thing: the heart of a real one.

    He explores the queasy relationships between life and art, love and estrangement, and the bane that is American identity drift, with unsparing but compassionate candor.” –Misha Berson, Seattle Times“Margulies’s remarkable gift of building characterization through realistic dialogue is undiminished. Full of aching ruefulness that underlies the comedy, Brooklyn Boy’s scenes are written with precision and humor. The play isn’t about Brooklyn, nor is it about a boy—it’s about a man without a home.” –Don Shirley, Los Angeles TimesThis new play by the Pulitzer Prize-winning author of Dinner with Friends follows the career of Eric Weiss, a writer whose novel hits the bestseller list the same time his life begins to unravel. His wife is out the door, his father is in the hospital, and his childhood friend thinks he has sold himself to the devil. A funny and emotionally rich look at family, friends and fame.Donald Margulies received the 2000 Pulitzer Prize for Drama for Dinner with Friends. The play received numerous awards, including the American Theatre Critics Association New Play Award, the Dramatists Guild/Hull-Warriner Award, the Lucille Lortel Award, the Outer Critics Circle Award and a Drama Desk nomination, and has been produced all over the United States and around the world. In addition to his adaptation of God of Vengeance, his many plays include Collected Stories, The Country House, Sight Unseen, The Model Apartment, The Loman Family Picnic, What’s Wrong with This Picture? and Time Stands Still. Mr. Margulies currently lives with his wife and their son in New Haven, Connecticut, where he teaches playwriting at Yale University.

    Someone - or something - is leaving bite marks in the avocados, Clay and Kelly's little daughter has an itch, and Carol can't remember who played Gandhi. This work takes a look at phoney liberal values.

    In an unprecedented (for him) run of promiscuity, Ty has managed to impregnate three women in the span of one week: His ex-girlfriend, his 40-something married next-door neighbor, and his 18 year-old student. In this edgy comedy by playwright Rajiv Joseph, Ty's problems illuminate every triumph and failure of his life, and as the women

    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.

    The first scene of the play is a conversation between two lovers, Tommy and Donna, who broke up some time earlier but who are obviously still attracted to each other. Donna is enraged because Tommy, a would-be artist, is now having an affair with her younger sister, but Tommy, stretched out on his recliner (which, apart from a refrigerator full of beer, comprises the entire furnishings of his spartan apartment), is seemingly unmoved by her harangue. In the second scene Donna visits her father, a once successful artist who stopped painting at the death of his wife, whom he had bullied and betrayed despite his professed love for her. Combative and complex (but also very funny) the father sits and drinks and eventually gives in to his daughter's demand that he force Tommy to marry her or beat him up. Then, in the third and final scene, the father and Tommy confront each other, with results that are sometimes menacing, sometimes antic, with a lively discussion about art and women eventually leading to a sort of tenuous truce—and a grudging recognition of the responsibility that love, in its various guises, imposes.

    In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.