One big secret. An even bigger love. Sean Morrison has returned to Lovetown, TX, with one purpose in mind: Claim Janiya Thompson as his wife. He has his faith, his military career, his upscale apartment, and with Janiya by his side, his life will finally be complete. But Sean has a secret that could destroy his newfound relationship. Will he have the courage to tell Janiya the truth?Janiya “Niya” Thompson has only known grief and uncertainty in her small town life. She doesn’t see any hope for a brighter future until her childhood friend, Sean, returns to town. Now, Janiya begins to yearn for more and opens her heart to new possibilities. Will Sean be a part of her healing or will he bring more pain?

    

    

    

    

    Not used to taking the diplomatic route, she has been tasked with forming an alliance with a clan in Scotland. Finding herself on the next flight out, Lara meets the most unnerving werewolf she’s ever met.Cameron Fraser, the were behind the clan, is used to getting what he wants, whenever he wants it, but Lara is proving to be more difficult than he hoped. Welcoming her to fight alongside his clan, the question becomes whether he can keep his motives pure enough to see the bigger picture: an alliance of two clans.

    Inspired by Frank Wedekind’s controversial 1891 play about teenage sexuality and society’s efforts to control it, the piece seamlessly merges past and present, underscoring the timelessness of adolescent angst and the universality of human passion.Steven Sater’s plays include the long-running Carbondale Dreams, Perfect for You, Doll (Rosenthal Prize/Cincinnati Playhouse), Umbrage (Steppenwolf New Play Prize), and a reconceived version of Shakespeare’s Tempest, which played in London.Duncan Sheik is a singer/songwriter who also collaborated with Sater on the musical The Nightingale. He has composed original music for The Gold Rooms of Nero and for The Public Theater’s Twelfth Night in Central Park.

    Its lyrical scenes still etch a portrait of Cyrano as a man of uncompromising bravery except in matters of the heart. They come off beautifully in the intimate off-Broadway-size Roundabout Theater. To the open minded, Langella's work will hardly seem felonious and it may be a breakthrough!" --David Patrick Stearns, U S A Today"Frank Langella has abridged the text and given the play a bare-bones production shorn of extravagance. CYRANO is compelling enough in its characterizations, dialogue and situations to withstand minimalism." --Frank Scheck, Hollywood Reporter"Frank Langella's adaptation is relatively short, fast and intimate. The speed of the shortened version allows the ideas behind the play to emerge with great force and clarity. The result is a terrifically enjoyable and surprising thought-provoking piece of theater." --Fintan O'Toole, Daily News, New York

    Through a psychiatrist's analysis of the events, Shaffer creates a chilling portrait of how materialism and convenience have killed our capacity for worship and passion and, consequently, our capacity for pain. Rarely has a playwrite created an atmosphere and situation that so harshly pinpoint the spiritual and mental decay of modern man.

    Higgins wagers that he can pass her off as a Duchess in a matter of weeks. But what will become of Eliza when the bet is over? This edition of ‘My Fair Lady’ includes the complete script and a selection of black and white stills from the Oscar-winning film starring Audrey Hepburn and Rex Harrison.

    The first play, Tughlaq, is a historical play in the manner of nineteenth-century Parsee theater. The second, Hayavadana was one of the first modern Indian plays to employ traditional theatrical techniques. In Naga-Mandala, the third play, Karnad turns to oral tales, usually narrated by women. This selected work of one of India's best known playwrights should attract the attention of students and scholars of comparative literature, or any reader interested in South Asian literature.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    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.

    It is a yarn still told in a hundred bars in tucked away ports where seafarers drink and wait out stormy weather. The story takes the reader on a smuggling voyage from the Atlantic down the Red Sea to Kenya, to Thailand and back across the Indian Ocean to Spain then the Netherlands. No notoriety, no articles in magazines, no calling for help when things get bad. Medical emergencies at sea, sharks, pirates, monsoon storms, and the Guardia Civil, notwithstanding… backing off was not an option. After 12 years of sailing and smuggling in the N. Atlantic and the Caribbean, Ranen, an old school pre electronic navigation sailor who smuggles to pay the bills for a lifestyle of dangerous freedom, heads for the Indian Ocean aboard his sleek deep ocean sailing boat, Sara. He left with a solid plan to sail new oceans, and do business in a new arena with different cultures. What happens when he gets there sends him on a path that was nothing he imagined, but such is the world of sailing and smuggling. Although Ranen has written this story in first person, It is also told from the perspective of the courageous young “Kenya Cowgirl” who became his crew and lover, all told through her journal entries from that voyage. In the days when “5/11” Beverly Johnson and Lynn Hill were winning the respect of the “rock star” climbers in Yosemite, Ranen was throwing a young Arianna Bell into the maelstrom of long distance non-stop sailing/smuggling. This is her story as well. Surprising twists of fate, cat and mouse with the law and other bad guys, as well as up close accounts of at life at sea in challenging conditions. Like living in a Dylan song.

    Information for Foreigners is a drama of disappearance, an experimental work dealing with the theme of random and meaningless punishment in which the audience is led through darkened passageways to a series of nightmarish tableaux. The collection also includes The Walls and Antigona Furiosa.