Why would the multimillionaire producer of Cats, Phantom of the Opera, and Miss Saigon take his limo from Manhattan to the struggling former steel town of Levittown, Pennsylvania, to see a high school production of Les Misérables? To see the show performed by the astoundingly successful theater company at Harry S Truman High School, run by its legendary director, Lou Volpe. Broadway turns to Truman High when trying out controversial shows like Rent and Spring Awakening before they move on to high school theater programs across the nation. Volpe’s students from this blue-collar town go on to become Emmy-winning producers, entertainment executives, newscasters, and community-theater founders. Michael Sokolove, a Levittown native and former student of Volpe’s, chronicles the drama director’s last school years and follows a group of student actors as they work through riveting dramas both on and off the stage. This is a story of an economically depressed but proud town finding hope in a gifted teacher and the magic of theater.

    Lloyd, who lives with Mae, spends his time caring a little too much for the farm animals; he scorns to learn from a book, and treats Mae with angry disrespect. When Lloyd becomes ill, Mae goes searching for a diagnosis, and brings their simple, yet eloquent, neighbor Henry home with her, in order to help her read the difficult medical language. The ensuing love / hate triangle that brews between the three creates a toxic environment, and Mae, whose love and respect for Henry turn to impatience and resentment after an accident renders him helpless, determines that to escape the ill-luck of her life, she must escape the men who depend upon her.

    It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe.Mike Bartlett's contemporary and directed dialogue combines a strong sense of humanity with epic ambition, as well as finely-aimed shafts of political comment embedded effortlessly into every scene. Earthquakes in London represents modern playwriting at its most exciting and ambitious.It's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone…. You were the glimmer. At the end of the tunnel. And you went out.

    From just about surviving the equivalent of 30 car crashes a game and crooning Adele for team spirit, to extensive field notes on the smell of the Scrum and the fine art of on-pitch relief. Then there's rugby's secret naked wrestling scene and how it was exposed.In my world, you never know how the ball will bounce...

    This 1960's French farce adapted for the English-speaking stage features self-styled Parisian lothario Bernard, who has Italian, German, and American fiancees, each beautiful airline hostesses with frequent "layovers." He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

    And because Geoff Norcott is so funny, it unfortunately means I can't dismiss his views entirely. It's so important to have a friend you can disagree with but still admire and Geoff can be that friend to you!' - Katherine Ryan "I've always thought the benefit of having batsh*t parents is it increases the chance of you growing up funny. It's certainly worked for Geoff Norcott." - David Baddiel 'Voting Conservative is like buying a James Blunt album: loads of people have done it, but weirdly you never meet them ...' Comedian Geoff Norcott should have been Labour through and through. He grew up on a council estate, both of his parents were disabled, and his Dad was a Union man. So, how was it that he grew up to vote Tory? In this courageously honest and provocative memoir, Geoff unpicks his working-class upbringing and his political journey from left to right. Raised by a fierce matriarch and a maverick father on a South London council estate where they filmed scenes for The Bill, Geoff spends his youth attempting to put out kitchen fires with aerosols and leaping in and out of industrial skips. But as he reaches adolescence, his political views begin to be influenced by major events including the early 90s recession, the credit crunch, and a chance encounter with Conservative PM John Major. As an adult, Geoff begins to have the gnawing feeling that the values and traditions he grew up with no longer match Labour's. And, as Brexit appears, he feels even more like a double agent operating behind enemy lines. Written with warmth, wit and often laugh-out-loud humour, Where Did I Go Right? is Geoff's attempt to understand why he ended up voting 'for the bad guys', and why blue-collared conservatism could be here to stay. Praise for Geoff Norcott: 'A mature, sharp take on modern politics' - The Sunday Times 'Gently abrasive, but that's what makes him so entertaining... with a sharp, self-knowing wit' - The Times 'Geoff Norcott genuinely has something original to say' - New European 'A refreshingly brilliant new comedic voice' - Spectator 'Norcott is an out-and-out rebel' - ExpressReviewWHERE DID I GO RIGHT? is sharp, considered, insightful, and helped me make sense of 'the other side'. And because Geoff Norcott is so funny, it unfortunately means I can't dismiss his views entirely. It's so important to have a friend you can disagree with but still admire and Geoff can be that friend to you! ― Katherine RyanBook DescriptionGeoff Norcott's colourful memoir of growing up Labour, but now voting Tory.About the AuthorComedian and writer Geoff Norcott is well known for his regular appearances on BBC2's The Mash Report, BBC1's Mock The Week, and Radio 4's The News Quiz. In 2019, he fronted his own BBC2 documentary How The Middle Class Ruined Britain and he has four Radio 4 specials to his name, one of which won the BBC Radio Award for Best Comedy Production. A satirical commentator in many national newspapers, Geoff has also been profiled in The Times and t he Guardian. He lives with his wife and son in Cambridgeshire.

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.

    But when one of the guests is stabbed to death, the festivities in this isolated house of tricks and mirrors quickly turn dangerous. Then it's up to Gillette himself, as he assumes the persona of his beloved Holmes, to track down the killer before the next victim appears. The danger

    After giving birth to a son, John, Bridie's child was taken away from her, and she was sent to one of Ireland's infamous Magdalene Laundries. This was only the beginning... They took her freedom. They took her innocence. They took her child. But they couldn't take her spirit.

    The author of 'The Life and Times of the Thunderbolt Kid' isn't, after all, a Shakespeare scholar, a playwright, or even a biographer. Reading 'Shakespeare The World As Stage', however, one gets the sense that this eclectic Iowan is exactly the type of person the Bard himself would have selected for the task. The man who gave us 'The Mother Tongue' and 'A Walk in the Woods' approaches Shakespeare with the same freedom of spirit and curiosity that made those books such reader favorites. A refreshing take on an elusive literary master.

    A horribly deformed young man, who has been a freak attraction in traveling side shows, is found abandoned and helpless and is admitted for observation to Whitechapel, a prestigious London hospital. Under the care of a famous young doctor, who educates him and introduces him to London society, Merrick changes from a sensational object of pity to the urbane and witty favorite of the aristocracy and literati. But his belief that he can become a man like any other is a dream never to be realized.

    But when a major global catastrophic event strikes the planet, their date takes on evolutionary significance and the fate of humanity hangs in the balance. Will they survive? What about the fish in the tank? And who is that woman pulling levers and playing the timpani? An epic and intimate comedy that spans over billions of years, boom explores the influences of fate versus randomness in the course of one's life, and life as we know it on the planet.

    Her characters suffer and survive against the enormous weight of the times with a dignity that inspires. Her work challenges the audience and reader to reexamine the conflicts and meaning of our everyday lives through her singular, poetic imagery and language.Includes: One Flea SpareIn the Heart of AmericaSlaughter CityThe War BoysThe Trestle at Pope's Creek

    He is sent to Italy by a wealthy financier to try and coax home the rich man's son. In the process Ripley becomes both attracted and seduced, finding the murder the only way to deal with the situation. From that point Ripley tries to cover up his crime. Patricia Highsmith's beguiling tale of morality and amorality is given a dramatic rendering by contemporary dramatist Phyllis Nagy, who knew Highsmith in her later years in Paris."Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)

    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.