A once-promising novelist, she announces to her family the imminent publication of a memoir dredging up a pivotal and tragic event in the family's history - a wound that her parents don't want reopened.Brooke has come home to draw a line in the sand and is daring her family to cross it. Her brother won't play her game; her aunt knows way too much, and her parents fall into all their old routines as they plead with her to keep their story quiet. In this family, secrets are currency and everyone is rich.In simplest terms, the play is about a girl who comes home to the desert with a story about where she is from, who her people really are, what she thinks they really are. Her parents represent an Establishment that she feels has betrayed this country. She goes to war with them, and blood is spilled.

    The topics include feminism and the role of women in the drama, the American Dream, business and capitalism, the significance of technology, the legacy that Willy leaves to Biff, and Miller's use of symbolism. The authors of the essays include prominent Arthur Miller scholars such as Terry Otten and the late Steven Centola as well as young, emerging scholars. Some of the essays, particularly the ones written by the emerging scholars, tend to employ literary theory while the ones by the established scholars tend to illustrate the strengths of traditional criticism by interpreting the text closely. It is fascinating to see how scholars at different stages of their academic careers approach a given topic from distinct perspectives and sometimes diverse methodologies. The essays offer insightful and provocative readings of Death of a Salesman in a collection that will prove quite useful to scholars and students of Miller's most famous play.

    The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.

    The author based this play on G.B. Shaw’s famous English play Pygmalion. This is a popular play that earned positive reviews from the critics as well.

    Its authorship is unknown, although suggestions include Thomas Kyd, Christopher Marlowe and William Shakespeare.Wealthy businessman Arden is convinced his wife Alice is cheating on him. He's right – but he doesn't know the full story. Determined to free herself from her miserable marriage, Alice is in fact plotting to have him murdered. As the assassins close in on their unwitting victim, husband, wife and lover find themselves locked in a deadly game.This edition of Arden of Faversham was published alongside the Royal Shakespeare Company's revival of the play in 2014, and features the text edited for the RSC production, and introductions by key members of its creative team.

    "By turns hilarious and chilling....the culmination of this playwright's work to date....Riveting theater."-Frank Rich, New York Times; "A brilliant black comedy, a dazzling dissection of Hollywood cupidity and another tone poem by our foremost master of the language of moral epilepsy... On its deepest level it belongs with the darker disclosures of movie-biz pathology like Nathanael West's The Day of the Locust and F. Scott Fitzgerald's The Last Tycoon. In a sense Speed-the-Plow distills all of these to a stark quintessence: there's hardly a line in it that isn't somehow insanely funny or scarily insane... [It is a] scathingly comic play."-Jack Kroll, Newsweek

    Yet Steven Adly Guiguis has created a profane, hilarious masterpiece that earned a "hatful" of theatrical accolades in 2011, including a Drama Desk award for Outstanding Actor in a Play for Bobby Cannavale. Stars the original Broadway cast: Chris Rock, Bobby Canavale, Annabella Sciorra, Elizabeth Rodriguez and Yul Vazquez.

    In the conflict that follows, it is Ruth who becomes the focus of the family's struggle for supremacy.

    As a child in the segregated Baltimore of the early 1960s, Smith absorbed the words of her parents, teachers, neighbors—even train conductors—and realized that there was something more being communicated than the actual words:The conductor's voice had a mild kind of grandeur that was a cousin to the vocal tones I had heard at funerals—"Ashes-to-ashes"—and at christenings and weddings. These are words that have been said many times, but the person who speaks them understands that each time it must be said as if it matters, because it does matter. We never know what lies ahead, and we never know what just happened, and all words must house respect of those two unknowns.In Talk to Me, Smith looks back at a singular career as a seeker and interpreter of language in America, revealing the methodology behind her extraordinary search for the truth and nuances of verbal communication. For thirty years, the defining thesis of Smith's work has been that how we speak is just as important in communicating truth and identity as what we say. Everything from individual vocal tone to grammar, Smith demonstrates, can be as identifiable and revealing as a fingerprint. Her journey has taken her from the rarefied bastions of academia to riot-torn streets; she has conducted hundreds of interviews with subjects ranging from women prisoners to presidents of the United States. In 1995, her ongoing investigation led her to Washington, D.C. After all, what better place to wage an inquiry into the power of language and the language of power than in the city where "message" is a manufactured product? What happens when we as citizens accept—which we seem to be doing more and more—our chosen leaders' failure to tell the truth? And how can we know that we are hearing what Washington really has to say when everything we receive is filtered through the media? Armed with a blazing intellect and a tape recorder, Smith tackled these questions head-on, conducting more than four hundred interviews with people both inside and outside the power structure of Washington. She recorded these sessions in her trademark verbatim transcripts, which include every tic and verbal utterance of her subjects. More than thirty of these remarkable documents appear in this book, including interviews with Bill Clinton, Anita Hill, Studs Terkel, George Bush, Mike McCurry, and Helen Thomas. After five years of searing investigation into the world of the politicians, spin doctors, and power brokers who are steering the course of our country from inside the beltway, Smith has come away with a revelatory assessment—by turns devastating and hopeful—of the lexicon of power and politics in America. Talk to Me is a landmark contribution from a woman whose pioneering insights into language speak volumes.

    He or she must have a working knowledge of how the various technical aspects of the theater work (scenery, props, costumes, lights and sound), be part director, part playwright, part designer and part producer, and be prepared to act as confidant, counselor and confessor to everyone else in the company.This book addresses all of these considerations in detail and offers the reader-professional or amateur, veteran or beginner-helpful guidance and practical advice, supported by many forms and examples to illustrate the points covered in the text.The three phrases of mounting and performing a show are covered. Part I takes the reader through the pre-production phase-research, the script, planning and organization, and auditions. Part II covers the rehearsal process-rehearsal rules, blocking, cues, prompting, information distribution, technical and dress rehearsals. Part III discusses the performance phase-calling the show, maintaining the director's work, working with understudies and replacements, and more.Part IV provides insights into the organizational structure or some theaters and aspects of human behavior in those organizations. Many stage managers of long-running commercial productions believe that-once the show is up and running-only ten percent of their work is related to everything covered in Parts I, II and III. The other ninety percent is associated with issues in Part IV; i.e. managing human behavior and maintaining working relationships.

    Not on this earth but elsewhere . . .Determined to make his mark like those before him, Pharus is hell-bent on being the best choir leader in the school's fifty-year history. First he must gain the respect of his peers, but he's an outsider in a world steeped in rites and rituals, a community that demands he conform.Tarell Alvin McCraney's piercing new play set in an all boys, all black American prep school scores a gospel refrain of the politics of minority and masculinity.Choir Boy premiered at the Theatre Upstairs at the Royal Court, London, in September 2012. It was commissioned by, and is a co-production with Manhattan Theatre Club and was supported by The Andrew W. Mellon Foundation.

    He finds work in a dry-goods store owned by the tyrannical but terminally ill Jabe Torrance; the store’s daily operations are overseen by Jabe’s wife, Lady. Tragedy in Lady’s past drove her to Jabe, and her life since the marriage has been one of desperate loneliness. Val, with his exotic seductiveness and undeniable talent, might offer Lady an escape route to a happier future—if the town doesn’t destroy them both first. (Dramatists Play Service)"... because of the power and the brilliance and the humor of his writing, it emerges as a consistently moving and captivating experience ... the author has done a masterful job of getting inside his characters." —NY Journal-American.

    Into her life saunters Cliff, a hard working, hard drinking truck driver. He is rough and witty and just as starved for love as she is. Produced to great success at New York's Circle Repertory, this delicate two-character drama starred Peter Weller and Patricia Wettig. The Woolgatherer features several excellent monologues. "Energy, compassion and theatrical sense are there."-The New York Times "[Mastrosimone] has a knack for composing wildly humorous lines at the same time that he is able to penetrate people's hearts and dreams."-Hollywood Reporter

    A "dumb blonde" chorus girl, mistress of a tycoon-gangster diddling in D.C., gets an education from a reporter for The New Republic, and blossoms into a very fair lady.

    In her hands. A shattering play about one woman’s unspeakable decision. hang premiered at the Royal Court Theatre, London, in 2015, in a production directed by the author, and featuring Marianne Jean-Baptiste, Claire Rushbrook and Shane Zaza.