"By a mile, the best new play of the season>"--John Heilpern, New York Observer.

    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.

    Failed ideals and human disillusionment give way in Hamletmachine to the youth clamoring in reaction against the past in order to change the present. To break free of the continual cycle of violence within history the past is questioned and deconstructed. Moving away from psychological narrative, Hamletmachine creates a landscape of the betrayed revolution. Brown's production challenges and provides resistance to this complicated text, inciting spectators to do the same. This performance is an exploration into the place of theatre as a sight of revolutionary change. In Müller's words, "the slogan of the Napoleonic era still applies: Theater is the Revolution on the march."

    But when history reveals a shocking truth about the man himself, the entire family is forced to confront questions of honesty and allegiance they thought had been resolved. AFTER THE REVOLUTION is a bold and moving portrait of an American family, thrown into an intergenerational tailspin, forced to reconcile a thorny and delicate legacy.

    Unfortunately, her imaginary friend Mr. Marmalade doesn't have much time for her. Not to mention he beats up his personal assistant, has a cocaine addic-tion, and a penchant for pornography and very long dildos. Larry, her only real friend, is the youngest suicide attempt in the history of New Jersey. MR. MARMALADE is a savage black comedy about what it takes to grow up in these difficult times.

    First performed by the American Repertory Theatre to critical acclaim, this translation by Gideon Lester is set on a contemporary battlefield of the sexes, with the performers going at one another with wit and passion.

    A masterful poet of the downtrodden, his plays portray life on New York's hardscrabble streets in a manner both tender and unflinching, while continually exploring the often startling gulf between who we are and how we perceive ourselves. Gathered in this volume is his current off-Broadway hit, Our Lady of 121st Street, a comic portrait of the graduates of a Harlem Catholic school reunited at the funeral of a beloved teacher, along with his two previous plays: the philosophical jailhouse drama Jesus Hopped the A Train and In Arabia, We'd All Be Kings, an Iceman Cometh for the Giuliani era that looks at the effect of Times Square's gentrification on its less desirable inhabitants.

    She meets and joins up with Lloyd Bophtelophti, a true "original" who has changed his name to avoid alimony payments and who now lives with a paraplegic named Pootie (who also pretends to be deaf in order to get double disability). Thus begins a series of picaresque escapades involving numerous psychiatrists, a TV game show, and, eventually, an ill-fated reunion with her husband. Filled with bizarre characters and events, the play reflects the fractured lifestyles which have become the norm for so many in our tenuous times.

    Warren's Profession-Shaw challenges his audiences' moral complacency in the face of serious social problems and inequities.Author Bio: George Bernard Shaw (1856-1950) was one of the most prolific writers of the modern theater. He invented the modern comedy of ideas, expounding on social and political problems with a razor-sharp tongue, yet never sacrificing the comic vitality that ensures regular revivals of his plays. He also wrote several important political works, including The Intelligent Woman's Guide to Socialism and Capitalism. Dan H. Lawrence, edited Shaw's Collected Letters, his Collected Plays with their Prefaces, and Shaw's Music and (with Daniel Leary) The Complete Prefaces. He is Series Editor for the works of Shaw in Penguin.David Edgar is a playwright, critic, and professor of Playwriting Studies at the University of Birmingham.

    They sailed far out to sea. The blue one returned to the harbor. The red one sailed home too. But the yellow boat sailed up to the sun." Benjamin always concluded his bedtime ritual by saying, "Mom, you can be the red boat or the blue boat, but I am the yellow boat." This remarkable voyage of Benjamin was extensively developed and widely produced in America for several years, always to ovations. Cast of 4 men and 3 women.THE YELLOW BOAT is based on the true story of David and Sonja Saar's son, Benjamin, who was born with congenital hemophilia, and died in 1987 at the age of 8 of AIDS related complications. A uniquely gifted visual artist, Benjamin's buoyant imagination transformed his physical and emotional pain into a blaze of colors and shapes in his fanciful drawings and paintings. The story of THE YELLOW BOAT Is a glorious affirmation of a child's life, and the strength and courage of all children. Recommended for children of age 8 and older, parents, families and adults.

    Its directionless New York City author arrives in town to defend the book and finds that it has inspired a group of local teens to rebel in strange and unexpected ways. A timely and unforgettable drama about the failure of urban and heartland America to understand each other, The Metal Children explores what happens when fiction becomes a matter of life and death.

    Phaedra's Love is a bold and provocative revisioning of the story of Phaedra's obsessive and destructive love of her son Hippolytus and his violent punishment by Theseus.

    Moon picks up eleven years after the events described in Long Day’s Journey Into Night, asJim Tyrone (based on O’Neill’s older brother Jamie) grasps at a last chance at love under the full moonlight. This paperback edition features an insightful introduction by Stephen A. Black, helpful to anyone who desires a deeper understanding of O’Neill’s work.

    His tricks and turns have a purpose. They are bridges over a deep pit of sympathy and sorrow, illuminated by a tragic vision of stunted and frustrated lives.' Fintan O'Toole, Irish TimesMartin McDonagh's searingly brilliant new play premi�res at the National Theatre, London in November 2003.

    But when an ordinary humdrum workday becomes anything but, the stakes for who will get to tell their own story become higher than ever.