w. inset. Kirk Douglas played on Broadway as a charming rogue who contrives to serve a short sentence in an airy mental institution rather in a prison. This, he learns, was a mistake. He clashes with the head nurse, a fierce artinet. Quickly, he takes over the yard and accomplishes what the medical profession has been unable to do for twelve years; he makes a presumed deaf and dumb Indian talk. He leads others out of introversion, stages a revolt so that they can s

    Simpatico launches readers into regions where high society meets the low life, and where, as one of the main characters observes, "someone is cutting someone else's throat."

    "A rare playwright, who could be a primary candidate for either the Nobel Prize in Literature or the Nobel Peace Prize."--Mel Gussow, The New Yorker

    It was the first play that Wilde wrote. It features Russian revolutionaries who seek to assassinate a reform-minded Emperor. Though Wilde's fictional Emperor differs from the actual Alexander, contemporary events in Russia – as published in the British press of the time – clearly influenced Wilde.

    In such classics as "The Beekeeper's Daughter," "The Disquieting Muses," "I Want, I Want," and "Full Fathom Five," she writes about sows and skeletons, fathers and suicides, about the noisy imperatives of life and the chilly hunger for death. Graceful in their craftsmanship, wonderfully original in their imagery, and presenting layer after layer of meaning, the forty poems in The Colossus are early artifacts of genius that still possess the power to move, delight, and shock.

    and was the sensation of that year's theatre season, making front-page headlines and outraging some critics who thought her premise that there was a connection between a rape in a Leeds hotel room and the hellish devastation of civil war was simply an attempt to shock audiences. The questions raised in this play about violence are at the heart of Kane's writing.

    Forced to abandon the life he has built, he embarks on a last, frantic search to recruit a friend, anyone, to speak in his defence. But Death is close behind, and time is running out.One of the great primal, spiritual myths, Everyman asks whether it is only in death that we can understand our lives. A cornerstone of English drama since the 15th century, this new adaptation by Poet Laureate Carol Ann Duffy was presented at the National Theatre, London, in April 2015.

    It is by turns poetic, uplifting, dark and funny as hell. Anthony is an introverted farmer and Rosemary is the woman who vows to have him at all costs. When Anthony's father threatens to disinherit his son, Rosemary steps into the middle of a land feud and family eccentricities beyond what one might imagine. On the brink of romantic catastrophe, this one-of-a-kind Irish heroine fights against time and mortality in hopes of securing her dream of love."Outside Mullingar is a charmer of a play... In [Shanley's] first work set in Ireland, he lovingly tends the roots and tills the soil of his ancestry, spinning a tale suffused with melancholy humor and a deep yearning for heart, home, land, faith and a sense of belonging.... Shanley has a poet’s ear for the lyrical music and twinkly humor of their dialogue." - Hollywood Reporter"Mullingar is Shanley’s best play since Doubt, and like that hit from a decade ago, it’s lean, dialectical and packed with wise saws and aphoristic gems." - Time Out New York"Shanley once again reveals both a touch of the poet and a fine gift of gab." - NY1"Wholly diverting... Mr. Shanley's finest work since Doubt... a softhearted comedy freckled with dark reflections on the unsatisfactory nature of life and the thorns of love." - New York TimesJohn Patrick Shanley is the author of Doubt: A Parable (Pulitzer Prize and Tony Award for Best Play), Danny and the Deep Blue Sea, Four Dogs and a Bone, Dirty Story, Defiance and Storefront Church, among many others. He wrote the teleplay for Live from Baghdad (Emmy nomination for Outstanding Writing for a Miniseries, Movie or Dramatic Special), and the screenplays for Doubt (Academy Award nomination for Best Adapted Screenplay), Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano, and Moonstruck (Academy Award for Best Original Screenplay).

    A Greek actor and a writer are discussing how to end a play. Actors, including Doris Levine from Great Neck, Blanche DuBois, and Groucho Marx, pop out of the audience. Peppered with metaphysical and philosophical questions, the play skids along farcically until the actor and writer conclude that it lacks a beginning as well as an end.

    When the patriarch of the Weston clan disappears one hot summer night, the family reunites at the Oklahoma homestead, where long-held secrets are unflinchingly and uproariously revealed. The three-act, three-and-a-half-hour mammoth of a play combines epic tragedy with black comedy, dramatizing three generations of unfulfilled dreams and leaving not one of its thirteen characters unscathed.

    1999 - In a world of scientific chaos, cloning and genetic engineering, the cellar of the same house reveals a dark secret buried for 200 years.

    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 possible break in his fortunes occurs when he receives a script from a student in the seminar he has been conducting at a nearby college a thriller which Sidney recognizes immediately as a potential Broadway hit. Sidney's plan, which he devises with his wife's help, is to offer collaboration to the student, an idea which the younger man quickly accepts. Thereafter suspense mounts steadily as the plot begins to twist and turn with devilish cleverness, and with such an abundance of thrills and laughter, that audiences will be held enthralled until the final, startling moments of the play.

    Only two Jews, Berish the innkeeper and his daughter Hannah, have survived the brutal Cossack raids. When three itinerant actors arrive in town to perform a Purim play, Berish demands that they stage a mock trial of God instead, indicting Him for His silence in the face of evil. Berish, a latter-day Job, is ready to take on the role of prosecutor. But who will defend God? A mysterious stranger named Sam, who seems oddly familiar to everyone present, shows up just in time to volunteer. The idea for this play came from an event that Elie Wiesel witnessed as a boy in Auschwitz: "Three rabbis--all erudite and pious men--decided one evening to indict God for allowing His children to be massacred. I remember: I was there, and I felt like crying. But there nobody cried."Inspired and challenged by this play, Christian theologians Robert McAfee Brown and Matthew Fox, in a new Introduction and Afterword, join Elie Wiesel in the search for faith in a world where God is silent.