That time is the period between the two World Wars, and Barnes' novel unfolds in the decadent shadows of Europe's great cities, Paris, Berlin, and Vienna—a world in which the boundaries of class, religion, and sexuality are bold but surprisingly porous. The outsized characters who inhabit this world are some of the most memorable in all of fiction—there is Guido Volkbein, the Wandering Jew and son of a self-proclaimed baron; Robin Vote, the American expatriate who marries him and then engages in a series of affairs, first with Nora Flood and then with Jenny Petherbridge, driving all of her lovers to distraction with her passion for wandering alone in the night; and there is Dr. Matthew-Mighty-Grain-of-Salt-Dante-O'Connor, a transvestite and ostensible gynecologist, whose digressive speeches brim with fury, keen insights, and surprising allusions. Barnes' depiction of these characters and their relationships (Nora says, "A man is another person—a woman is yourself, caught as you turn in panic; on her mouth you kiss your own") has made the novel a landmark of feminist and lesbian literature. Most striking of all is Barnes' unparalleled stylistic innovation, which led T. S. Eliot to proclaim the book "so good a novel that only sensibilities trained on poetry can wholly appreciate it." Now with a new preface by Jeanette Winterson, Nightwood still crackles with the same electric charge it had on its first publication in 1936.

    Included are: "Shadow of a Man," winner of the 1990 Fund for New American Plays Award; "Heroes and Saints," winner of the Dramalogue, the PEN West, and the Critics Circle awards, as well as the Will Glickman Prize for Best Play of 1992; and "Giving Up the Ghost," first published by West End Press in 1986, and now presented here in its revised stage version.

    But as her economic dependence becomes brutally clear, Nora's acceptance of the status quo undergoes a profound change. To the horror of the bewildered Torvald, himself caught in the tight web of a conservative society which demands that he exert strict control, Nora comes to see that only possible true course of action is to leave the family home.Frank McGuinness's version of A Doll's House received its London premiere in October 1996 and opened on Broadway in 1997, where the production won four Tony Awards.

    Ms. Herzog writes with keen sensitivity to the complex weave of feelings embedded in all human relationships, with particular attention to the way we tiptoe around areas of radioactive emotion." - New York Times"Whatever the ideal contemporary American drama is, it has to look a lot like The Great God Pan. It is provocative and subtle, slowly, carefully revelatory, sweetly moving, thought-provoking, funny and insightful." - New York Observer"An intelligent, delicately articulate writer." - Village Voice"A moving and unsettling look at the nature of identity and the vagaries of memory. With subtlety and compassion, Herzog contemplates how well we can really know ourselves." - BackstageJamie's life in Brooklyn seems just fine: a beautiful girlfriend, a burgeoning journalism career, and parents who live just far enough away. But when a possible childhood trauma comes to light, lives are thrown into a tailspin. Unsettling and deeply compassionate, The Great God Pan tells the intimate tale of what is lost and won when a hidden truth is suddenly revealed.Amy Herzog's plays include 4000 Miles (Pulitzer Prize finalist), After the Revolution and Belleville. Ms. Herzog is the recipient of numerous awards, including the Whiting Writers' Award, an Obie Award and the Helen Merrill Award for Aspiring Playwrights.

    Uniting fact and fiction into an original romantic vision, The Danish Girl eloquently portrays the unique intimacy that defines every marriage and the remarkable story of Lili Elbe, a pioneer in transgender history, and the woman torn between loyalty to her marriage and her own ambitions and desires.The Danish Girl is an evocative and deeply moving novel about one of the most passionate and unusual love stories of the 20th century.

    She doesn’t go to school and never leaves the flat by day. Sensing in each other a kindred spirit, the two become devoted friends. What Oskar doesn’t know is that Eli has been a teenager for a very long time…Jack Thorne's adaptation of Let The Right One In premiered in June 2013 at the Dundee Rep Theatre in a production by the National Theatre of Scotland, before transferring to London's Royal Court Theatre in November 2013.

    J.B. won the Pulitzer Prize for drama in 1959 & the Tony Award for best play. More important, the play sparked a national conversation about the nature of God, the meaning of hope & the role of the artist in society.

    He hits the books, hangs with his friends, flirts with girls, and omits the full truth of his life from his Aunt Audrey and Uncle Steve, who have raised him since his parents died. But there's one way that Jason Peele is very different: when he dreams at night, it isn't about girls; it's about David Bowie. At sixteen-years-old, Jason is just beginning to understand that he might be gay.The one place Jason feels comfortable is on the track where he can run fast and hard. He loves the feel of the wind at his back, of his legs propelling him furiously around, the roar of the crowd in his ears. But now, even his sanctuary feels threatening. It isn't just the jerks who call him "faggot" in the locker room. A new guy has joined the team, and everything about him will challenge the way Jason sees life. From late-night showings of "La Cage Aux Folles" to reading Gandhi, he's running a new race on an uncertain course, and only one thing's for sure--his senior year is going to be unforgettable...With "A Secret Edge, "Robin Reardon delivers a sexy, sensitive coming-of-age novel about identity and courage, love and honor, anger and hope, and the many ways the truth can really set you free.

    Best friends. At least they used to be. But a year ago Sam cut Charlie out of his life--no explanation, no discussion, nothing. Fast-forward one year, and both Sam's and Charlie's lives are spiraling out of control. Sam has a secret he's finding harder and harder to hide, and Charlie is dealing with an increasingly absent dad and a dealer whose threats are anything but empty. As told in alternating chapters from Sam and Charlie during the sticky Florida summer before their senior year, the ex-best friends are thrown together once again when they have no one else to turn to. P. E. Ryan's Saints of Augustine is a witty, enthralling, and unforgettable novel about the power of friendship.

    A white teen who has grown up in the affectionate company of the two black waiters who work in his mother's tea room in Port Elizabeth learns that his viciously racist alcoholic father is on his way home from the hospital. An ensuing rage unwittingly triggers his inevitable passage into the culture of hatred fostered by apartheid."One of those depth charge plays [that] has lasting relevance [and] can triumphantly survive any test of time...The story is simple, but the resonance that Fugard brings to it lets it reach beyond the narrative, to touch so many nerves connected to betrayal and guilt. An exhilarating play...It is a triumph of playmaking, and unforgettable."-New York Post"Fugard creates a blistering fusion of the personal and the political."-The New York Times"This revival brings out [the play's] considerable strengths."-New York Daily News