As the action unfolds, the residents, ranging from young to old, from the defiant to the resigned, meet and talk and interact with each other during the course of one day. The drama is of passing events in their lives, of everyday encounters and of the human comedy, with conversations often overlapping into a contrapuntal musical flow. In the resulting mosaic each character emerges clearly and perceptively defined, and the sum total of what they are-or wish they were-becomes a poignant, powerful call to America to recover lost values and to restore itself in its own and the world's eyes.

    The popular image of the men who made the bomb is of dispassionate intellects who number-crunched their way towards a weapon whose devastating power they could not even imagine. But in his Tony Award-winning play Copenhagen, Michael Frayn shows us that these men were passionate, philosophical, and all too human, even though one of the three historical figures in his drama, Werner Heisenberg, was the head of the Nazis' effort to develop a nuclear weapon. The play's other two characters, the Danish physicist Niels Bohr and his wife, Margrethe, are involved with Heisenberg in an after-death analysis of an actual meeting that has long puzzled historians. In 1941, the German scientist visited Bohr, his old mentor and long-time friend, in Copenhagen. After a brief discussion in the Bohrs' home, the two men went for a short walk. What they discussed on that walk, and its implications for both scientists, have long been a mystery, even though both scientists gave (conflicting) accounts in later years. Frayn's cunning conceit is to use the scientific underpinnings of atomic physics, from Schr?dinger's famous cat to the Heisenberg uncertainty principle, to explore how an individual's point of view renders attempts to discover the ultimate truth of any human interaction fundamentally impossible. To Margrethe, Heisenberg was always an untrustworthy student, eager to steal from her husband's knowledge. To Bohr, Heisenberg was a brilliant if irresponsible foster son, whose lack of moral compass was part of his genius. As for Heisenberg, the man who could have built the bomb but somehow failed to, his dilemma is at the heart of the play's conflict. Frayn's clever dramatic structure, which returns repeatedly to particular scenes from different points of view, allows several possible theories as to what his motives could have been. This isn't the first play to successfully merge the world

    A series of scenes that gradually tell the story of how the financial collapse affects a British couple and how fiscal worry, stress, and fear can strain mankind's greatest emotion.

    The Iron Age. The Age of Oil.The Stone Age didn't end for want of stones. What do you do when you know it's going to run out? Oil follows the lives of one woman and her daughter in an epic, hurtling crash of empire, history and family.Ella Hickson's explosive new play drills deep into the world's relationship with this finite resource.Oil premiered at the Almeida Theatre, London, in October 2016.

    This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    Concerned something has happened to her husband, Jill follows a string of clues to try and find out the secret Charles was keeping from her.

    . . this passionate play about a family struggling to outrun social prophecy is potent and intensely acted." --The New York Times"Pipeline showcases an American play wright in full blaze." --Huffington Post"This is a writer who has a flawless ear for the way kids see the world and their ability to navigate it with surgical eloquence." --DeadlineNya, an inner-city teacher, is desperate to give her only son, Omari, opportunities he'd otherwise never have in the flawed public education system. When an incident at his private school threatens to get him expelled, Nya must con- front the full weight of the impact her parenting decisions have made on her son. Inspired by the "school-to-prison" pipeline that ensnares people of color, Morisseau brings us a powerful play that delves into issues of class, race, parenting, and education in America and questions the systematic structures that ultimately trap underserved communities.Dominique Morisseau's plays include Detroit '67, Paradise Blue, Skeleton Crew, Sunset Baby, Follow Me to Nellie's, Third Grade, Black at Michigan, Socks, Roses Are Played Out, and Love and Nappiness. Morisseau is a recipient of the Edward M. Kennedy Prize for Drama, two NAACP Image Awards, a commendation from the Primus Prize by the American Theatre Critics Association, and the winner of the 2012 Barrie and Bernice Stavis Play wright Award by National Theatre Conference.

    "What Lenny Bruce was to the 1950s, Bob Dylan to the 1960s, Woody Allen to the 1970s--that's what Eric Bogosian is to this frightening moment of drift in our history."--Frank Rich, The New York Times

    The newest Broadway musical by Pulitzer Prize-winning collaborators Stephen Sondheim and James Lapine, winner of the Tony Award for Best Musical, 1994.

    But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fiancé, Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and needs help packing. Amanda balks and ends up (gently) hitting the postman, who happens to be her first boyfriend. They spend the night together in an apple orchard, where Amanda tries to tell Billy how her life got sidetracked. It has something to do with being a young woman in a profession that only recognizes famous men. Billy acts like he might have the answer, but doesn't. Neither does Amanda's mother. Or, for that matter, her father. A Feminine Ending is a gentle, bittersweet comedy about a girl who knows what she wants but not quite how to get it. Her parents are getting divorced, her fiancée is almost famous, her first love reappears, and there's a lot of noise in her head but none of it is music. Until the end. "Ending′ is a promising beginning...the playwright has a sense of humor that brings to mind a budding Wendy Wasserstein and a liberated sense of form that evokes a junior Paula Vogel."-Los Angeles Times "Darkly comic. FEMININE ENDING has undeniable wit." -New York Post. "Appealingly outlandish humor." -The New York Times. "Courageous. The 90-minute piece swerves with nerve and naivete. Sarah Treem has a voice all her own." -Newsday.

    With her faith in academia beginning to erode and memories from her time in the Balkans and the Middle East haunting her, Nadia travels with her boyfriend, Philip Lucas, to rural England to visit her father, Oliver, who has his own past to reckon with. The challenge of Nadia's encounter with Oliver forces decisions on her that will affect her for the rest of her life.   For thirty-five years, David Hare has written plays that capture the flavor of our times and address the interconnection between our secret motives and our public politics. In The Vertical Hour, he continues his investigation of the morality of international intervention, and of how the war in Iraq impacts the lives of British and American citizens.

    This volume presents a comprehensive critical study of Samuel Beckett's first and most renowned dramatic work. Lawrence Graver discusses the play's background and provides a detailed analysis of its originality and distinction as a landmark of modern theatrical art. He also reviews some of the differences between Beckett's original French version and his English translation.

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

    a visionary work that bridges the history and culture of two worlds."--Frank Rich, New York TimesBased on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.TEXT OF THE BROADWAY REVIVAL

    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.