. . Dying City is a political play and also a psychodrama about what Arthur Miller called the politics of the soul. It’s about public conscience and private grief, and real and symbolic catastrophes.”?The New York Observer “Anyone who doubts that Mr. Shinn is among the most provocative and probing of American playwrights today need only experience the . . . sophisticated welding of form and content that is Dying City.”?The New York Times In Christopher Shinn’s new play Dying City, a young therapist, Kelly, whose husband Craig was killed while on military duty in Iraq, is confronted a year later by his identical twin Peter, who suspects that Craig’s death was not accidental. Set in a spare downtown-Manhattan apartment after dark, scenes shift from the confrontation between Peter and Kelly, to Kelly’s complicated farewell with her husband Craig. Shinn’s creepy, sophisticated drama?infused with references to 9/11 and the war in Iraq?explores how contemporary politics and recent history have transformed the lives of these three characters. Christopher Shinn was born in Hartford, Connecticut, and lives in New York. His plays include Where Do We Live, Other People, What Didn’t Happen, and On the Mountain, which have been widely produced in New York, across the United States, and in London. He is the recipient of an OBIE Award in Playwriting, as well as the Robert S. Chesney Award. He teaches playwriting at The New School for Drama.

    Set to open in New York in the fall of 2001, this work focuses on fifteen-year-old Lisa, the daughter of a prostitute, and Clint, the car thief she runs away with to escape the misery of life with her mother. But the happier times that sullenly childlike Lisa yearns for never materialize, as Clint orders her to procure young runaways for him. No one notices that these teenage girls are missing until an anonymous call to the police reports their murders. Could the caller--and the killer--be Lisa? Rebecca Gilman has created a riveting, unsentimental portrait of a young woman whose most striking quality is not her capacity for evil but the depth of her emptiness, in an environment as harsh and unyielding as the contours of her life

    Under the watchful gaze of his young assistant and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting.A moving and compelling account of one of the greatest artists of the twentieth century, Mark Rothko, whose struggle to accept his growing riches and praise became his ultimate undoing.

    Men are exfoliating. It's all jumbled: you can't read the signs.Can any woman have it all? After university Catherine and Gwen chose opposite paths: Catherine built a career as a rock-star academic, while Gwen built a home with a husband and children. Decades later, unfulfilled in opposite ways, each woman covets the other's life, and a dangerous game begins as each tries to claim the other's territory. Sparks fly and the age-old question arises: what do women really want?Gina Gionfriddo dissects modern gender politics in this breathtakingly witty and virtuosic comedy, set in a small New England college town. Traversing the experiences of women across the generations, this play is a hugely entertaining exploration of a new style of feminism, ripe for the twenty-first century.Rapture, Blister, Burn was commissioned by Playwrights Horizons, where it premiered, with funds from the Harold and Mim Steinberg Charitable Trust. It received its UK premiere at the Hampstead Theatre, London, in January 2014.

    Sensual and poetic by the great Tennessee Williams.

    Will and Lily Dale Kidder try to hold onto their beliefs about their son's life and death and the possibilities for their own lives, but both are dealt a shattering blow by the young man of the title, a friend of their son's who never appears in the play. Foote's pitch-perfect characters and sensitive eye for interpersonal relationships continue to place him at the top of playwrights working today.

    When Amir and his wife Emily (Heidi Armbruster), a white artist influenced by Islamic imagery, host a dinner party, what starts out as a friendly conversation escalates into something far more damaging.

    Dowd starts to introduce his imaginary friend Harvey, a six and a half foot rabbit, to guests at a dinner party, his sister, Veta, has seen as much of his eccentric behavior as she can tolerate. She decides to have him committed to a sanitarium to spare her daughter, Myrtle Mae, and their family, from future embarrassment. Problems arise, however, when Veta herself is mistakenly assumed to be on the fringe of lunacy when she explains to doctors that years of living with Elwood's hallucination have caused her to see Harvey also! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion. When he shows up at the sanitarium looking for his lost friend Harvey it seems that the mild-mannered Elwood's delusion has had a strange influence on more than one of the doctors. Only at the end does Veta realize that maybe Harvey isn't so bad after all.

    A paean to live theater, and to the resilience of Bart Simpson through the ages, Mr. Burns is an animated exploration of how the pop culture of one era might evolve into the mythology of another."--Publisher's website

    They've returned home to toast their mentor Gina, newly inducted as president of a tiny Catholic college. But as their reunion spirals into spiritual chaos and clashing generational politics, it becomes less a celebration than a vicious fight to be understood. On a chilly night in the middle of America, Will Arbery's haunting play offers grace and disarming clarity, speaking to the heart of a country at war with itself.

    Presents the script of a 1988 play about a group of women in Chinquapin, Louisiana, who learn to draw upon their underlying strength and love to meet the challenges of life.

    Escaping their lives in Manhattan, former college buddies Matt and Davis take off to the Netherlands and find themselves thrown into a bizarre love triangle with a beautiful young prostitute named Christina. But the romance they find in Europe is eventually overshadowed by the truth they discover at home. Written with an unflinching poetic beauty, Red Light Winter is a play of sexual intrigue that explores the myriad and misguided ways we seek to fill the empty spaces inside us.

    As an imperious, acerbic old woman lies dying, she is tended by two other women and visited by a young man. Albee's frank dialogue about everything from incontinence to infidelity portrays aging without sentimentality. His scenes are charged with wit, pain, and laughter, and his observations tell us about forgiveness, reconciliation, and our own fates. But it is his probing portrait of the three women that reveals Albee's genius. Separate characters on stage in the first act, yet actually the same "everywoman" at different ages in the second act, these "tall women" lay bare the truths of our lives—how we live, how we love, what we settle for, and how we die. Edward Albee has given theatergoers, critics, and students of drama reason to rejoice.

    This sidesplitting play, a testimony to David’s great writing talent, is also his first time on Broadway—in fact, his first time acting on stage since eighth grade. In Fish in the Dark Larry David stars as Norman Drexel, a man in his fifties who is average in most respects except for his hyperactive libido. As Norman and his family try to navigate the death of a loved one, old acquaintances and unsettled arguments resurface with hilarious consequences.Fish in the Dark has its world premiere at the Cort Theatre on Broadway on March 5, 2015, starring Larry David.

    Weller Martin is playing solitaire on the porch of a seedy nursing home. Enter Fonsia Dorsey, a prim, self righteous lady. They discover they both dislike the home and enjoy gin rummy so they begin to play and to reveal intimate details of their lives. Fonsia wins every time and their secrets become weapons used against one another. Weller longs for a victory to counter a lifetime of defeats but it doesn't happen. He leaves the stage a broken man and Fonsia realizes her self-righteous rigidity has led to an embittered, lonely old age. "A thoroughly entertaining lesson in the fine art of theatrical finesse. The closest thing the theatre offers to a duel at 10 paces."-The New York Times"Extremely intelligent..fine bittersweet comedy...Funny, sad, profane, eloquent, touching, beautiful."-WABC-TV"Perfect...A vibrant study on loneliness, disillusion, old age and death yet fiercely funny."-The Boston Globe