The play is a complex, often metaphorical, and at times symbolic examination of AIDS and homosexuality in America in the 1980s. Certain major and minor characters are supernatural beings (angels) or deceased persons (ghosts). The play contains multiple roles for several of the actors. Initially and primarily focusing on a gay couple in Manhattan, the play also has several other storylines, some of which occasionally intersect.

    Book by McLure, James

    Extensively researched and compellingly told, it introduces us to the passionate drama and violent upheaval of eleventh-century Europe. The world as we know it, and the English language, would have been vastly different were it not for the driving ambition of one man: William the Conqueror. But conquerors are made, not born, and William was made in fire and blood. How does a boy become a man, surviving a tumultuous and terrifying childhood? And how does that man become a legend? William Rising plunges us into this world of danger and betrayal, of choosing sides and dying for absolutes. It follows the creation of a conqueror, as he grows up abandoned, learns to fight at an early age for anything he hopes to keep, and is sculpted into a remorseless, far-sighted, ruthlessly efficient soldier and statesman. From his origins as an orphaned, penniless bastard boy, to his personal and political trials by fire, to the climactic battle with his rebellious barons where he finally comes of age, the young duke increasingly establishes himself as a force to be reckoned with. But as the shadowy intrigues of English politics, and the all-consuming question of an heir for a childless king, begin to draw him into their web, it may just be that William of Normandy has a destiny far greater than even he has ever dreamed.

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    Tasked with routing out enemy agents and thwarting an elaborate espionage ring, which includes beautiful American double agent Josephine Lafitte, MacLea’s mission is betrayed. Now, trapped in a dramatic showdown aboard a captured American warship headed for the breach at Niagara Falls, battle-hardened MacLea finds himself fighting not just for freedom, but for his life.

    Inspired by a series of master classes the great diva conducted at Juilliard toward the end of her career, this drama puts Maria Callas at center stage again as she coaxes, prods, and inspires students—"victims" as she calls them—into giving the performances of their lives while revealing her own. As she slips off into memories, we experience her days at La Scala, her marriage to Meneghini, and her great doomed love for Aristotle Onassis. But the dazzling theatricality comes from Callas's emotional explosions, her cutting wit, and the soaring music as each student sings an aria that exposes the Divina's vulnerabilities ... and her genius.

    For young housemaid, Anwen Rhys, life is hard in the Welsh mining village of Dorcalon, deep in the Rhymney Valley. She cares for her ill mother and beloved younger sister Sara, all while shielding them from her father’s drunken, violent temper. Anwen comforts herself with her love for childhood sweetheart, Idris Hughes, away fighting in the Great War.Yet when Idris returns, he is a changed man; no longer the innocent boy she loved, he is harder, more distant, quickly breaking off their engagement. And when tragedy once again strikes her family, Anwen’s heart is completely broken.But when an explosion at the pit brings unimaginable heartache to Dorcalon, Anwen and Idris put their feelings aside to unite their mining community.In the midst of despair, can Anwen find hope again? And will she ever find the happiness she deserves?

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    The king has died and Elesin, his chief horseman, is expected by law and custom to commit suicide and accompany his ruler to heaven. The stage is set for a dramatic climax when Pilkings learns of the ritual and decides to intervene and Elesin's son arrives home.

    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.

    Now available in the Arcade definitive edition, the Lehrstucke (or learning plays) lie at the heart of Brechtian theater.

    It finds in the lives of Maggie, her family and her neighbours not only all the tragedy that appalling housing, massive unemployment and grinding poverty can produce, but alo a rich vein of comedy - the sense of the ridiculous, the need for a good laugh.

    It tells the story of very private lives caught up in the heartrendering ordeal of suffering and doom - an ordeal that was largely ignored for reasons of politics and majority morality.Filled with power, anger, and intelligence, Larry Kramer's riveting play dramatizes what actualy happened from the time of the disease's discovery to the present, and points a moral j'accuse in many directions. His passionate indictment of government, the media, and the public for refusing to deal with a national plague is electrifying theater - a play that finally breaks through the conspiracy of silence with a shout of stunning impact. As Douglas Watt summed it up in his review for the New York Daily News,THE NORMAL HEART is "an angry, unremitting and gripping piece of political theater. You are bound to come away moved."

    But without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg, and band together to get it done. Amidst the noise and color of Elizabethan London, THE BOOK OF WILL finds an unforgettable true story of love, loss, and laughter, and sheds new light on a man you may think you know.“THE BOOK OF WILL…unequivocally announces Gunderson as a playwright with whom to be reckoned. It is, quite frankly, one of the best plays I have ever seen. It will bring tears of both laughter and sorrow to all but the most jaded audience member’s eyes. It is, in a word, a triumph.” —Boulder Weekly (CO). “[Gunderson] has peopled the stage with lively, historically based characters…She paints a vivid portrait of the times in language sometimes formal, sometimes poetic and often…contemporary…She also gives a real feel for theater life and what it means to be an actor; you sense this is a work of both scholarship and love. …[THE BOOK OF WILL] serves as homage to those who sacrificed to make the first folio happen and to Shakespeare’s magnificent words.” —Westword (Denver, CO).

    After their expulsion from paradise, Eve gives birth to Cain, watched over by a scheming Lucifer-who seeks to share the power of a God now angered by the errant ways of his creations. In the concluding portion of the play, with mounting dramatic intensity, Cain kills his brother, Abel, and is sent out as a wanderer, as the final dilemma is explored: "When every man wants justice, why does he go on creating injustice?" Throughout the action, which alternates scenes of sprightly humor with absorbing confrontations between God and Lucifer and God and his fallible creations, the striking pertinence of the play becomes ever more clear. It is a parable for our time, and all time, rich with philosophic insights and alive with vivid theatricality.