Louis in the mid-thirties––a lovely Sunday for a picnic at Creve Coeur Lake. But Dorothea, one of Tennessee Williams’s most engaging "marginally youthful," forever hopeful Southern belles, is home waiting for a phone call from the principal of the high school where she teaches civics––the man she expects to fulfill her deferred dreams of romance and matrimony. Williams’s unerring dialogue reveals each of the four characters of A Lovely Sunday for Creve Coeur with precision and clarity: Dorothea, who does even her "setting-up exercises" with poignant flutters; Bodey, her German roommate, who wants to pair Dotty with her beer-drinking twin, Buddy, thereby assuring nieces, nephews, and a family for both herself and Dotty; Helena, a fellow teacher, with the "eyes of a predatory bird," who would like to "rescue" Dotty from her vulgar, common surroundings and substitute an elegant but sterile spinster life; and Miss Gluck, a newly orphaned and distraught neighbor, whom Bodey comforts with coffee and crullers while Helena mocks them both. Focusing on one morning and one encounter of four women, Williams once again skillfully explores, with comic irony and great tenderness, the meaning of loneliness, the need for human connection, as well as the inevitable compromises one must make to get through "the long run of life."

    It's nothing like the suburb you might live in . . . Unless, that is, an insane, Listerine-guzzling Realtor sold you your house? Or perhaps your postman happens to have a disturbing relationship with his claw hammer? A grieving Dan LaBarbara knows something is different in Helltown as soon as he comes back home. Yeah, sure, the town always been a little off. You can feel that about the place, like if you stepped into a house whose only occupants were freshly murdered corpses in an upstairs bedroom. But this is something else entirely. Standing in his little brother Barbie's basement workshop, holding one of those dioramas Barbie's been building since the accident, the ones that seem to move when you hold them, Dan can feel Barbie's terror. Barbie must know something is coming, something big, something evil. He's trying to warn Dan in the only way he knows. Why else would Barbie build a diorama depicting a man-sized version of a cartoon rabbit with bloody teeth about to devour a trembling teenager? Why else would he spend so much time crafting an intricate model of Death standing over a pimply teenager in the school library? And let's not even talk about that little model of the mob of undead surrounding the massive tower of vicious black spines behind the high school. Hilltown has a story to tell, and the lonely brain-damaged man who builds magical dioramas in his basement workshop has been telling it all along. As the evil closes in around them, Dan and his new love interest Jessica must do the impossible: save everyone one in Hilltown before it's too late.

    What was life? What was love? What else could have been? Full of mordant, bitter humour, this is a passionate threnody from one of Ireland's leading playwrights.Woman and Scarecrow premieres at the Royal Court Theatre, London, in June 2006.

    A farce with a hilarious drunk scene for two stylish comediennes.

    "Ravenhill has more to say, and says it more refreshingly and wittily, than any other playwright of his generation"—Time Out "There are few stage authors writing more interestingly than Mark Ravenhill … He is - it is now yet more evident - a searing, intelligent, disturbing sociologist with a talent for satirical dialogue and a flair for sexual sensationalism."—Financial Times Shopping and Fucking: "is a darkly humorous play for today's twenty-somethings … a real coup de theatre"—Nicholas de Jongh, Evening Standard Faust: "…an intelligent and witty reappropriation of the legend … alive, pertinent and disturbing"—Michael Coveney, Observer Handbag: "…combines urban grit with sly wit, and reveals Mark Ravenhill as a writer of real daring" —Daily Telegraph Some Explicit Polaroids: "laudably ambitious, pulsates with energy … very funny"—Financial Times

    

    

    Son of a blacksmith, political genius, briber, charmer, bully. A man with a deadly expertise in manipulating people and events. Mike Poulton's two-part adaptation of Hilary Mantel's acclaimed novels 'Wolf Hall' and 'Bring Up the Bodies' is a thrilling and utterly convincing portrait of a brilliant man embroiled in the lethal, high-stakes politics of the court of Henry VIII. 'Wolf Hall' begins in England in 1527. Henry has been King for almost twenty years and is desperate for a male heir, but Cardinal Wolsey is unable to deliver the divorce he craves. Into this volatile court enters the commoner Thomas Cromwell, who sets out to achieve the King's desire, whilst methodically and ruthlessly pursuing his own reforming agenda. In 'Bring Up the Bodies', Anne Boleyn is now Queen, her path to Henry's side cleared by Cromwell. When the King begins to fall in love with Jane Seymour, Cromwell must negotiate within an increasingly perilous court to satisfy Henry, keep the nation safe, and advance his own ambitions. Hilary Mantel's novels are the most formidable literary achievements of recent times. She is the first writer to win the Man Booker Prize with consecutive novels.Adapted by Mike Poulton, the plays were premiered by the Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, in December 2013, directed by Jeremy Herrin. This edition contains a substantial set of notes by Hilary Mantel on each of the principal characters, offering a unique insight into the world of the plays and an invaluable resource to any theatre companies wishing to stage them.

    Zany, thought-provoking, and always original, this anthology brings together all the one-acts from the Off-Broadway hit Mere Mortals and from the all-new Lives of the Saints, as well as several new and uncollected plays, including Bolero, Arabian Nights (which premiered at the celebrated Humana Festival in Louisville), The Green Hill, and Captive Audience.

    In this sly critique of contemporary relationships, Reza skillfully picks apart the friendship of three men via a bowl of olives and a white-on-white painting. Now translated into more than 30 languages, Art continues to be performed worldwide, even as Reza's other plays have garnered similar acclaim. Life x 3, Reza's most recent offering, again highlights her satirical wit as two couples face off in three different versions of the dinner from hell. Praised as "compact, cool and clever" by Christopher Isherwood of Variety, Reza uses the acidic exchanges of her characters to illuminate their inner desire for love and acceptance. Also included in this edition are two earlier plays, The Unexpected Man and Conversations After a Burial. Each elucidates the startling difference between public and private life, be it in the confines of a train compartment or a country estate in the aftermath of a loved one's passing.

    Friendship. Aaron, Candice, sex and Connor Jones. Chewing Gum Dreams is a one-woman play that recalls those last days of innocence before adulthood.Written and performed by Michaela Coel who spent her childhood in Hackney, London, Chewing Gum Dreams won the 2012 Alfred Fagon Award."Coel is by turns casually cruel, hilariously funny, naïve, wise and vulnerable. Her play tackles some difficult themes, including sexual assault, violence, and underachievement across generations…a serious new talent." Londonist"An engrossing, engaging and compelling one-woman show... nothing short of virtuosic." What's On Stage"A promising, resilient artist." Ché Walker

    "A rare playwright, who could be a primary candidate for either the Nobel Prize in Literature or the Nobel Peace Prize."--Mel Gussow, The New Yorker

    The eclectic band of citizens that make up this town are portrayed by only two performers, making this satire on life in rural America even more delightful as they depict all of the inhabitants of Tuna -- men, women, children and animals.

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

    A mystery, really. A man has been murdered. The mystery is, who he is, who murdered him and what were the circumstances? And to solve it, Wilson looks at the outsides and insides of his tiny, Middle Western town. He looks at a middle-aging woman who falls in love with the young man who comes to work in her cafe. He looks at a coarse, nasty woman mistreating her senile mother, who is obsessed with visions of Eldritch being evil and headed for blood-spilling. He looks at a tender relationship between a young man and a dreamy, crippled girl. But Wilson sees far more than this. He is grasping the very fabric of Bible Belt America, with its catchword morality ("virgin," "God-fearing") and its capability for the vicious. He senses the rhythm of its life and the cruelty it can impose. He understands the speech patterns of its loveless gossips, its sex-hungry boys, its compassionless preachers, its car-conscious blondes." In the end his portrait of Eldritch is full length, and the truth of its revelations will be pondered long after the stage lights have dimmed and the play has ended.