The play begins with the 1990s controversy over color-blind casting for "Miss Saigon," before it spins into a comic fantasy, in which the character DHH pens a play in protest and then unwittingly casts a white actor as the Asian lead. "Yellow Face" also explores the real-life investigation of Hwang's father, the first Asian American to own a federally chartered bank, and the espionage charges against physicist Wen Ho Lee.

    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.

    I think this was a really, really great start.Five lost people come together at a community centre class to try and find some meaning in their lives. Counting to ten can be harder than you think. Over six tangled weeks their lives become knotted together in this tender and funny play.

    Its characters are brilliant conversationalists, including the princesses Rosalind and Celia and their Fool, Touchstone. Soon after Rosalind and Orlando meet and fall in love, the princesses and Touchstone go into exile in the Forest of Arden, where they find new conversational partners. Duke Frederick, younger brother to Duke Senior, has overthrown his brother and forced him to live homeless in the forest with his courtiers, including the cynical Jaques. Orlando, whose older brother Oliver plotted his death, has fled there, too.Recent scholars have also grounded the play in the issues of its time. These include primogeniture, passing property from a father to his oldest son. As You Like It depicts intense conflict between brothers, exposing the human suffering that primogeniture entails. Another perspective concerns cross-dressing. Most of Orlando’s courtship of Rosalind takes place while Rosalind is disguised as a man, “Ganymede.” At her urging, Orlando pretends that Ganymede is his beloved Rosalind. But as the epilogue reveals, the sixteenth-century actor playing Rosalind was male, following the practice of the time. In other words, a boy played a girl playing a boy pretending to be a girl.

    Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship and abuse.

    Dutchman presents a stylized encounter that illustrates hatred between blacks and whites in America as well as the political and psychological conflicts facing black American men in the 1960s. The play won an Obie Award as best American Off-Broadway play of 1964; it was made into a film in 1967. Set in a New York City subway car, the play involves Clay, a young, middle-class black man who is approached seductively by Lula, a white fellow passenger. Lula provokes Clay to anger and finally murders him.

    Sweet recollections of driving with her beloved uncle intermingle with lessons about the darker sides of life. Balmy evenings are fraught with danger; seductions happen anywhere. Li'l Bit navigates a narrow path between the demands of family and her own sense of right and wrong.

    When she reconnects with her childhood friend Clare Kendry, who is similarly light-skinned, Irene discovers that Clare has been passing for a white woman after severing ties to her past--even hiding the truth from her racist husband.Clare finds herself drawn to Irene's sense of ease and security with her Black identity and longs for the community (and, increasingly, the woman) she lost. Irene is both riveted and repulsed by Clare and her dangerous secret, as Clare begins to insert herself--and her deception--into every part of Irene's stable existence. First published in 1929, Larsen's brilliant examination of the various ways in which we all seek to "pass," is as timely as ever.

    At first the Sycamore family seems mad, but it is not long before we realize that if they are mad, the rest of the world is really verklempt.

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    But the arrival of Ericka, a new student with undeniable talent and beauty, captures the attention of the pageant recruiter – and Paulina's hive-minded friends. This buoyant and biting comedy explores the universal similarities (and glaring differences) facing teenage girls across the globe.

    Jadine Childs is a black fashion model with a white patron, a white boyfriend, and a coat made out of ninety perfect sealskins. Son is a black fugitive who embodies everything she loathes and desires. As Morrison follows their affair, which plays out from the Caribbean to Manhattan and the deep South, she charts all the nuances of obligation and betrayal between blacks and whites, masters and servants, and men and women.

    . . 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.

    After a critically acclaimed Broadway premier and successful film adaptation (starring Nicole Kidman, Aaron Eckhart, and Diane West), Rabbit Hole has been hailed as an artistic breakthrough for the highly regarded Lindsay-Abaire. A drama of what comes after tragedy, it captures “the awkwardness and pain of thinking people faced with an unthinkable situation—and eventually, their capacity for survival.” -USA TodayDavid Lindsay-Abaire is the Pulitzer-winning author of Rabbit Hole, which was made into a feature film. He is the author of Good People, Fuddy Meers, Wonder of the World, A Devil Inside and Kimberly Akimbo, as well as the book and lyrics to Shrek the Musical. He has written the screenplays for Rabbit Hole, Rise of the Guardians and Oz: The Great and Powerful. Born in South Boston, he now lives in Brooklyn.