A mixture of poetry, metaphysics, and common sense, they are ideal for the imaginative director and are easily adapted for radio or small acting areas.

    This climactic event—when Nora slams the door on everything in her life—instantly propelled world drama into the modern age. In A DOLL’S HOUSE, PART 2, many years have passed since Nora’s exit. Now, there’s a knock on that same door. Nora has returned. But why? And what will it mean for those she left behind?

    A “skillfully-told story that engages the emotions as well as the brain,” Golden Child explores the impact of these decisions on each of his great-grandfather’s three wives, and succeeding generations (Entertainment Focus).David Henry Hwang is the author of the Tony Award-winning M. Butterfly, Yellow Face (OBIE Award, 2008 Pulitzer Prize finalist), Golden Child (1997 OBIE Award), FOB (1981 OBIE Award), Family Devotions (Drama Desk nomination), and the books for musicals Aida ( co-author), Flower Drum Song (2002 Broadway revival), and Tarzan, among other works. David Henry Hwang graduated from Stanford University, attended the Yale School of Drama, and holds honorary degrees from Columbia College in Chicago and The American Conservatory Theatre. He lives in New York City with his wife, actress Kathryn Layng, and their children, Noah David and Eva Veanne.

    A moving and hilarious account of a spring day in a small Welsh coastal town, Under Milk Wood is "lyrical, impassioned and funny, an Our Town given universality" (The New Statesman and Nation).

    At first, the new doctor cures anything

    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.

    Her foils and rapt listeners are the other integral and re-imagined women of this Shakespeare tragedy: Emilia, Desdemona's servant and the wife of Iago, and Bianca, now a majestic whore of Cyprus. The reluctantly loyal Emilia pesters Desdemona about a military promotion for her husband. Her motive, however, is that he leave her a wealthy widow, preferably sooner than later. Bianca, now a street-wise, yet painfully naive prostitute, visits Desdemona thinking she is a very good friend and fellow hooker (at least one night a week). Bianca thinks the worst when she soon discovers that Desdemona knows intimate details of the life of her lover, Cassio. Though Desdemona has never been intimate with Cassio, her life is soon in danger when her husband, Othello, also suspects her of infidelity.

    I mean the happy satiety that comes from being in the hands of a real right-brain/left-brain author who channels her ineffable instincts with a master artisan’s practical skills … Ms. Baker has established herself as one of the freshest voices in American theater. Here she also provides evidence of her peerless ear for contemporary language.” —New York Times“Tantalizing … In John, a play set in a quaintly eerie bed and breakfast, Baker flirted with occult suspense. Here, in a drama confined to a fluorescent room … she edges into symbolist territory. Baker’s signature hyper-realism makes room for an irrational dimension that lightly evokes the supernatural enigmas of Maurice Maeterlinck and August Strindberg.” —Los Angeles Times“A paradoxical, puzzling, compellingly hypnotic work.” —Village VoiceIn Annie Baker’s The Antipodes, a group of people sit around a table telling, cataloging, and theorizing stories. Their purpose is never clear: are they brainstorming ideas for a TV show? A film? A mythology? This is a world where ghostly fables co-exist with mundane discussions of snacks and sexual exploits, where the vague instruction to tell stories about “something monstrous” though “it might not be a literal monster” becomes maddeningly impossible. Part satire, part sacred rite, The Antipodes asks what value stories have for a world in crisis. (TCG)

    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.

    The combination of dazzling wit, subtle social criticism, sumptuous settings and the theme of a guilty secret proved a winner, both here and in his next three plays, A Woman of No Importance, An Ideal Husband, and his undisputed masterpiece, The Importance of Being Earnest. This volume includes all Wilde's plays from his early tragedy Vera to the controversial Salome and the little known fragments, La Sainte Courtisane and A Florentine Tragedy. The edition affords a rare chance to see Wilde's best known work in the context of his entire dramatic output, and to appreciate plays which have hitherto received scant critical attention.

    Written in Lallan Scots, it is a most exciting piece of poetic drama.

    Before long they begin to settle down, buy a house, juggle careers, have kids – theirs is an ordinary family.But then their world starts to unravel and things take a disturbing turn.A tragic, violent look at parenthood and trauma.

    When Agnes finds Tilly's Dungeons & Dragons notebook, however, she stumbles into a journey of discovery and action-packed adventure in the imaginary world that was Tilly's refuge. In this high-octane dramatic comedy laden with homicidal fairies, nasty ogres, and 90s pop culture, acclaimed young playwright Qui Nguyen offers a heart-pounding homage to the geek and warrior within us all.

    Now middle-aged women, they were teenagers when Dean filmed Giant two decades ago in nearby Marfa. One of them, an extra in the film, has a child whom she says was conceived with Dean during the shoot. The ladies' congenial reminiscences mingle with flash backs to their youth; then the arrival of a stunning but familiar stranger se

    The first published play by an African American writer, The Escape explored the complexities of American culture at a time when tensions between North and South were about to explode into the Civil War. This new volume presents the first-edition text of Brown’s play and features an extensive introduction that establishes the work’s continuing significance.The Escape centers on the attempted sexual violation of a slave and involves many characters of mixed race, through which Brown commented on such themes as moral decay, white racism, and black self-determination. Rich in action and faithful in dialect, it raises issues relating not only to race but also to gender by including concepts of black and white masculinity and the culture of southern white and enslaved women. It portrays a world in which slavery provided a convenient means of distinguishing between the white North and the white South, allowing northerners to express moral sentiments without recognizing or addressing the racial prejudice pervasive among whites in both regions.John Ernest’s introductory essay balances the play's historical and literary contexts, including information on Brown and his career, as well as on slavery, abolitionism, and sectional politics. It also discusses the legends and realities of the Underground Railroad, examines the role of antebellum performance art—including blackface minstrelsy and stage versions of Uncle Tom's Cabin—in the construction of race and national identity, and provides an introduction to theories of identity as performance.A century and a half after its initial appearance, The Escape remains essential reading for students of African American literature. Ernest's keen analysis of this classic play will enrich readers’ appreciation of both the drama itself and the era in which it appeared.The Editor: John Ernest is an associate professor of English at the University of New Hampshire and author of Resistance and Reformation in Nineteenth-Century African-American Literature: Brown, Wilson, Jacobs, Delany, Douglass, and Harper.