The plot concerns a wealthy, lecherous old man who feigns a mortal illness in order to solicit bribes from greedy acquaintances who hope to inherit his fortune. Many complexities of plot and connivance ensue, but in the end, the guilty parties are exposed and punished. Explanatory footnotes.

    Warren is a madam, proprietress of a string of successful brothels. Her daughter, Vivie, is a modern young woman, but not so modern that she's not shocked to discover the source of her mother's wealth. The clash of these two strong-willed, but culturally constrained Victorian women, is the spark that ignites the ironic wit of one of George Bernard Shaw's greatest plays, in a withering critique of male domination, sexual hypocrisy, and societal convention. Initially banned after its 1893 publication due to its startling frankness, Mrs. Warren's Profession remains a powerful work of progressive theater.

    This one-person play works through bold juxtapositions and satiric reference points: Simón Bolívar and Speedy Gonzales; Columbus and Fodor’s travel guides; Ricky Ricardo and the Latin Lover; �La Bamba’ and Placido Domingo; Carlos Fuentes and American made-for-TV drug-wars movies. Verdecchia twirls stereotypes and clichés, offers comparative histories, examines myths and mysticism, and provides lessons in language and dancing.Cast of one man.

    

    The lawyer is married to a beautiful, well-to-do girl in the midwest whose family sets the pace in local society and intends to run his marriage and his career as well. He has rebelled, come to New York, and taken up residence with this intriguing young woman. He is lonely and in need of consolation; she is one of those rare women whose only purpose seems to be making others happy. Their briefly fulfilling relationship is unhappily destined to failure: he is a cultured gentile with a wife and painful memories while she is a plain Jewish girl with little education and a horrible Bronx accent. They share happy and humorous moments together, but they both see with sadness the utter hopelessness of the affair."It's a whale of a hit, a bittersweet joy ride." - The New York Mirror ."An absorbing, affectionate, and funny delight." - The New York Daily News

    Her oldest daughter, Kess, is a university professor in Minneapolis, but she has come home at the request of her sister, Jo who is concerned for Evelyn's mental health. Kess, a professed lesbian, wants to cut her family ties once and for all; Jo, an incurable romantic and longtime virgin, has now become pregnant; while Sherry, salty-tongued and amoral, wants only to finish high school so she can leave home for good. In the end, there is no accommodation possible but, instead, only a kind of arbitrary independence for each of the protagonists, as they come to realize that each must find her own heaven or hell in her own way.

    Through the skillfully disarming use of clichéd language and homilies, the play explores with subtle grace and depth the way the death of a child tears one family apart, while showcasing the talents of a promising young playwright who "in [a] very modern way [is] making a rather old-fashioned case for the power of the written word" (Jason Zinoman, The New York Times).Fresh from its critically acclaimed off-off-Broadway run this past spring, God's Ear moves off-Broadway to the Vineyard Theatre in April 2008.

    Pace Creagan, seventeen, brimful of adventure, fearless and feared. To Dalton, she's irresistible. To Pace, he's a challenge.The Trestle at Pope Lick Creek is a beautiful and haunting play. A coming-of-age story with a wicked twist, it reaches into the depths of a nation and asks what lies beneath.The Trestle at Pope Lick Creek received its European premi�re at the Traverse Theatre, Edinburgh, in February 2001.

    It would be about being present and being committed to the artistic process every single day, regardless of the ‘weather.’ It became a daily meditation, a daily prayer celebrating the rich and strange process of a writing life.”—Suzan-Lori Parks On November 13, 2002, the incomparable Suzan-Lori Parks got an idea to write a play every day for a year. She began that very day, finishing one year later. The result is an extraordinary testament to artistic commitment. This collection of 365 impeccably crafted pieces, each with its own distinctive characters and dramatic power, is a complete work by an artist responding to her world, each and every day. Parks is one of the American theater’s most wily and innovative writers, and her “stark but poetic language and fiercely idiosyncratic images transform her work into something haunting and marvelous” (TIME).

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

    

    They like to live by the sea.Two retired nuclear scientists in an isolated cottage by the sea as the world around them crumbles. Then an old friend arrives with a frightening request.Lucy Kirkwood's previous plays include Chimerica (winner of the Olivier Award for Best Play, the Evening Standard Award, the Critics' Circle Best New Play Award and the Susan Smith Blackburn Prize), small hours, NSFW, and it felt empty when the heart went at first but it is alright now. The Children premiered at the Royal Court, London, in November 2016 and will receive its US premiere at Manhattan Theatre Club in the fall of 2017.

    (doubling possible.) / 5 ints. or unit set. Recently revived on Broadway to great acclaim, this is the rollicking tale of three down and out troupers who decide to head for Hollywood and try their luck with the newly invented talkies. Due to a series of consistent blunders, the most stupid of the three is carried to pinnacles of fame and fortune until he's literally made a god of the industry. It's a fast paced and wild romp and a marvelous spoof of tinsel land.

    It is the source of Sartre's especially famous and often misinterpreted quotation "L'enfer, c'est les autres" or "Hell is other people", a reference to Sartre's ideas about the Look and the perpetual ontological struggle of being caused to see oneself as an object in the world of another consciousness.

    “If there is a bleaker, funnier or more desperate play in Edinburgh this year, I’ll eat my hat.”—GuardianA brilliant new play by the author of Disco Pigs and this year’s winner of the Edinburgh First Fringe Award for Outstanding New Writing.