Inspired by the Prometheus Bound of Aeschylus, Shelley's play serves as a sort of sequel, matching its Greek predecessor in stature and pure poetic power. It depicts its philanthropist hero's ultimate triumph over the superstition and bigotry of the gods. As Shelley himself stated in his Defence of Poetry, Prometheus Unbound awakens and enlarges the mind.

    His professor, the renowned E. C. Mabie, remarked as he got up and dismissed the seminar, "Well, we all have to paint our nudes!" Tom's earlier comment in his journal that the play "is well-constructed, no social propaganda, and is suitable for the commercial stage" seems accurate enough in 1999, but woefully naive deep in the Depression when the play's sexual explicitness—particularly its matter-of-fact acceptance of a woman's right to her own sexuality—would have been seen as not only shocking but also politically radical. Spring Storm would later be disavowed by the author as "simply a study of Sex—a blind animal urge or force (like the regenerative force of April) gripping four lives and leading them into a tangle of cruel and ugly relations."But the solid and deft characterizations of the four young people whose lives intertwine—the sexually alive Heavenly Critchfield, her earthy lover Dick Miles, Heavenly's wealthy but tongue-tied admirer Arthur Shannon, and the repressed librarian Hertha Nielson who loves Arthur—are archetypes of characters we will meet again and again in the Williams canon. Epic in scope, a bit melodramatic in execution, tragic in outcome, Spring Storm created a wave of excitement among theatre insiders when it was given a staged reading at The Ensemble Studio Theatre's Octoberfest '96. This edition has been prepared, with an illuminating introduction, by Dan Isaac, who initiated the Octoberfest production.

    It was first staged in 1976 at the Royal Court Theatre Upstairs and revived at the National Theatre in 1996.Caryl Churchill has written for the stage, television and radio. A renowned and prolific playwright, her plays include Cloud Nine, Top Girls, Far Away, Drunk Enough to Say I Love You?, Bliss, Love and Information, Mad Forest and A Number. In 2002, she received the Obie Lifetime Achievement Award and 2010, she was inducted into the American Theater Hall of Fame.

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.

    Pinter, "one of the most important playwrights of our day" (The New York Times), again proves himself a vital and innovative literary voice. Set in two bedrooms and an indefinite dark space, Moonlight is the story of a father on his deathbed, rehashing his youth, loves, lusts, and betrayals with his wife, while simultaneously his two sons - clinical, conspiratorial, the bloodless, intellectual offspring of a hearty anti-intellectual - sit in the shadows, speaking enigmatically and cyclically, stepping around and around the fact of their estrangement from their father, rationalizing their love-hate relations with him and the distance that they are unable to close even when their mother attempts to call them home. In counterpoint to their uncomprehending isolation between the extremes of the death before life and the death after is their younger sister, Bridget, who lightly bridges the gaps between youth and age, death and life.

    Led by the title character, the women of the warring city-states of Greece agree to withhold sexual favours with their husbands until they agree to cease fighting. The war of the sexes that ensues makes Lysistrata a bawdy comedy without peer in the history of theatre.

    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.

    A Greek actor and a writer are discussing how to end a play. Actors, including Doris Levine from Great Neck, Blanche DuBois, and Groucho Marx, pop out of the audience. Peppered with metaphysical and philosophical questions, the play skids along farcically until the actor and writer conclude that it lacks a beginning as well as an end.

    It received its English premiere at the Royal Court Theatre, London in September 1998.

    Deever was sent to prison while Keller escaped punishment and went on to make lots of money. In a work of tremendous power, a love affair between Keller's son, Chris, and Ann Deever, Herbert's daughter, the bitterness of George Keller, who returns from the war to find his father in prison and his father's partner free, and the reaction of a son to his father's guilt escalate toward a climax of electrifying intensity.Winner of the Drama Critics' Award for Best New Play in 1947, All My Sons established Arthur Miller as a leading voice in the American theater. All My Sons introduced themes that thread through Miller's work as a whole: the relationship between fathers and sons, and the conflict between business and personal ethics.

    In Laughing Wild, two comic monologues evolve into a man and a woman’s shared nightmare of modern life and the isolation it creates. From her turf battles at the supermarket to the desperate clichés of self-affirmation he learns at his “per­sonality workshop,” they run the gamut of everyday life’s small brutalizations until they meet, with disastrous inevitability, at the Harmonic Convergence in Central Park.

    George traces his mysterious traveling companion to Belpher Castle, home of Lord Marshmoreton, where things become severely muddled. Maud’s aunt, Lady Caroline Byng, wants Maud to marry Reggie, her stepson. Maud, meanwhile, is known to be in love with an unknown American she met in Wales. So when George turns up speaking American, a nasty case of mistaken identity breaks out. In fact, the scene is set for the perfect Wodehouse comedy of errors.

    While spending a few weeks in Bath with a family friend, Catherine meets and falls in love with Henry Tilney, who invites her to visit his family estate, Northanger Abbey. Once there, Catherine, a great reader of Gothic thrillers, lets the shadowy atmosphere of the old mansion fill her mind with terrible suspicions. What is the mystery surrounding the death of Henry's mother? Is the family concealing a terrible secret within the elegant rooms of the Abbey? Can she trust Henry, or is he part of an evil conspiracy? Catherine finds dreadful portents in the most prosaic events, until Henry persuades her to see the peril in confusing life with art.Executed with high-spirited gusto, Northanger Abbey is a lighthearted, yet unsentimental commentary on love and marriage.

    1999 - In a world of scientific chaos, cloning and genetic engineering, the cellar of the same house reveals a dark secret buried for 200 years.

    Fusing hip-hop, pop, R&B, and the best traditions of theater, this once-in-a-generation show broadens the sound of Broadway, reveals the storytelling power of rap, and claims our country's origins for a diverse new generation.Hamilton: The Revolution gives readers an unprecedented view of both revolutions, from the only two writers able to provide it. Miranda and Jeremy McCarter, a cultural critic and theater artist who was involved in the project from its earliest stages--"since before this was even a show," according to Miranda--trace its development from an improbable perfor­mance at the White House to its landmark opening night on Broadway six years later. In addition, Miranda has written more than 200 funny, revealing footnotes for his award-winning libretto, the full text of which is published here.Their account features photos by the renowned Frank Ockenfels and veteran Broadway photographer Joan Marcus; exclusive looks at notebooks and emails; interviews with Questlove, Stephen Sond­heim, leading political commentators, and more than 40 people involved with the production; and multiple appearances by Presi­dent Obama himself. The book does more than tell the surprising story of how a Broadway musical became a national phenomenon: It demonstrates that America has always been renewed by the brash upstarts and brilliant outsiders, the men and women who don't throw away their shot.