Presents the script of a 1988 play about a group of women in Chinquapin, Louisiana, who learn to draw upon their underlying strength and love to meet the challenges of life.

    It premiered in London, in 1980 and won the Society for West End Theatres (SWET) award for Best Comedy of the Year. It was made into a highly successful film with Michael Caine and Julie Walters and won the 1983 BAFTA award for Best Film.Commentary and notes by Steve Lewis.

    

    York Notes author John Scicluna discusses all aspect of An Inspector Calls --a thorough run-down very helpful to anyone studying the famous Priestley play.

    The play tells the story of Lincoln and Booth, two brothers whose names were given to them as a joke, foretelling a lifetime of sibling rivalry and resentment. Haunted by the past, the brothers are forced to confront the shattering reality of their future.

    It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe.Mike Bartlett's contemporary and directed dialogue combines a strong sense of humanity with epic ambition, as well as finely-aimed shafts of political comment embedded effortlessly into every scene. Earthquakes in London represents modern playwriting at its most exciting and ambitious.It's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone…. You were the glimmer. At the end of the tunnel. And you went out.

    But as her economic dependence becomes brutally clear, Nora's acceptance of the status quo undergoes a profound change. To the horror of the bewildered Torvald, himself caught in the tight web of a conservative society which demands that he exert strict control, Nora comes to see that only possible true course of action is to leave the family home.Frank McGuinness's version of A Doll's House received its London premiere in October 1996 and opened on Broadway in 1997, where the production won four Tony Awards.

    It won the 1995 Evening Standard Award for Best Comedy and, the Writers' Guild for Best West End Play."An exceptionally accomplished first play . . . though I know nothing about poker, I testify to the compulsive grip this play exerts and to the accumulation of meanings it ignites in your head."—Financial Times"Patrick Marber's enthralling close-up of the demons which drive compulsive gamblers is among the finest new plays in many a year."—Daily Mail

    One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.

    She makes cheese balls (traditional and smoky) that sustain the existence of her entire religious community, Clusterhaven. However, she feels unappreciated among her Squeamish brethren, and she decides to try her luck in the outside world. Along the way, she meets a Cockney-speaking Ukrainian immigrant couple who find her a job waiting tables at Plymouth Crock, a family restaurant run almost entirely by recovering alcoholics. The alcoholics love her. The customers love her. Her Danderfrock fits right in. Things are going great for Liz, until she's offered a promotion to manager. Unfortunately, Liz has a sweating problem, and to get the job, she'll have to fix it. Meanwhile, back at Clusterhaven, Liz's compatriots just can't seem to duplicate her cheese ball recipe, and it's going to cost them their quaint, cloistered lifestyle. They are panic-stricken and desperate, and sure she sabotaged the recipe. Does Liz go through with the operation? Can the Squeamish be saved? Will the cheese balls ever taste good again?

    Before he can find the answer, he’s nearly killed himself—by a politically motivated car bombing targeting his activist daughter. With the inspector in the hospital, the case falls to his partner, Mike Burden. But when a strange mother and son are suspected, Burdon’s trail leads him down a very twisted road.  An Unkindness of Ravens: When a neighbor’s husband vanishes, Chief Inspector Wexford suspects the cad most likely ran off with one of his girlfriends. However, there are a few nagging concerns, like the man’s suspicious letter of resignation and his abandoned car. And is it just a fluke that his disappearance coincides with a rash of stabbings—all straight through the heart, all with male victims? Behind the seemingly placid domesticity of Wexford’s Sussex neighbors, there’s a growing web of tangling secrets, double lives, and triple-crosses.

    A young lieutenant directs rehearsals of the Restoration comedy, The Recruiting Officer. With a cast of convicts, opposition from sadistic officers and a leading lady who is due to be hanged, Australia's first theatrical production is in trouble from the start.

    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.

    With every good thing life had to offer, she was due to marry the man she loved—a man who, in turn, adored her. But all this was to change in a single moment.One happy day, in the midst of writing to her fiancée, her hand stopped writing unbidden; then it continued by itself, etching the words which would change her life forever: ‘…but there’s no point now, as I am going to be a nun.’ That bolt from the blue set events in motion that caused Shirley to lose her mother and sisters, her husband to be, her horses, her parties and life of ease.Within months, Shirley had become Sister Agatha. But her faith in her choice never faltered, despite years of great difficulty when her Convent was close to bankruptcy. Her belief took her to London to knock on the intimidating Sir Paul Getty’s door and secure the money to ensure her community would not lose their home….and getting it. Now eighty-five, she looks back on an incredible life of love, loss and belief.This is at once a deeply poignant tale of doomed romance, and a heart-warming story of taking a leap of faith and finding a meaning in life beyond wealth and comfort. Whether a believer or not, Sister Agatha’s momentous life will touch and inspire, whilst reminding us that it is perhaps better to accept that not everything in the world is yet explained.

    But as the two teens cram to finish their presentation on Walt Whitman’s Leaves of Grass, they learn not only how to work together, but just how fundamentally they complement each other.