. . 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)

    She had felt that Hercule Poirot should not have been included in the plot, and for the stage she removed him entirely

    Gathered here are three of his latest works: Faster, in which two young grifters try to strike a deal with the devil during the hottest summer on record; Finer Noble Gases, a lament for a band of arrested thirty-year-olds slouching toward adulthood amid East Village decay; and the Off-Broadway hit Stone Cold Dead Serious. An honest, strange, and humorous look at a blue-collar family struggling to survive in the face of disability and addiction, and the seemingly surreal lengths their teenage son will go to save them from themselves, the play prompted Bruce Weber to rave in The New York Times: "Rapp is very gifted, and, even rarer, he has something to say . . . Stone Cold Dead Serious [is] brave, compassionate, and . . . breathtakingly moving. It is the work of a playwright who is forging a real voice . . . Its rendering of the shared language of loved ones illustrates how families can remain intimate even when they are in shards. Its depiction of a working-class America that is unable to dream of anything beyond enduring is as sincerely sad a commentary on our culture as I've seen in recent memory. And its fear for young people is, unfortunately, deeply convincing."

    A play sparked by the suicide of actor, Kenneth Morgan, with whom Rattigan had been in love.

    As much as she tries to quell her nerves, she can't shake the feeling she's going to die. She feels as though she's never going to leave the Intrepid alive—and she's right.

    In doing so, England's reigning man of letters set in motion a series of events that would culminate in his ruin and imprisonment. For within a year the bewildered Wilde himself was on trial for acts of gross indecency and, implicitly--for a vision of art that outraged Victorian propriety. Expertly interweaving courtroom testimony with excerpts from Wilde's writings and the words of his contemporaries, Gross Indecency unveils its subject in all his genius and human frailty, his age in all its complacency and repression. The result is a play that will be read and studied for decades to come.

    Neither was her boyfriend, Chandler. But they were. And so was Rudy, a cute stranger whom Go shared a connection with the night before. And Caroline, a girl whose silence ended up costing nineteen people their lives.Though it’s been a year since the bombing, Go isn’t any closer to getting over what happened. Since Chan shuts down every time Go brings that day up, she decides to reach out to Rudy. Just like that, the two fall right back into their easy, deep connection. Facing the past head-on with Rudy has opened up a small window of healing Go never thought was possible. So she makes an impulsive decision: Round up the rest of the survivors and head to New York City. There they will board an art installation made of the charred remnants of Bus 21.But things are never easy when it comes to rehashing the past. Uniting the four stirs up conflicting feelings of anger and forgiveness and shows them that, although they all survived, they may still need saving.

    His search for identity, self-affirmation and love takes us into the ambiguous landscapes, sexual, psychological and spiritual, of the human condition.

    There was a fight. The next morning, Sam’s best friend, Hayden, was dead. All he left Sam was a playlist of songs—and a note, saying that he took his own life. But what Sam doesn’t know is: Why?To figure out what happened, Sam has to rely on the playlist and his own memory. But the more he listens, the more he realizes that his memory isn’t as reliable as he thought. Especially when someone claiming to be Hayden starts sending him cryptic messages, and a series of violent attacks begins on the bullies who made Hayden’s life hell.Sam knows he has to face up to what happened the night. But it’s only by taking out his earbuds and opening his eyes to the people around him—including an eccentric, unpredictable girl who’s got secrets, too—that Sam will finally be able to piece together his best friend’s story.And maybe have a chance to change his own.

    It's easy to see why Mr. Martin, who wrote the film...was moved to reinvent this role...Mr. Martin's screenplay is bighearted and funny.' The New York Times

    But when Luke is hospitalized in a tragic accident, Adam must come face-to-face with Luke's faith and his family.

    Recommended for all collections." - Choice

    In doing so, he entered our hearts—my heart—because he made his struggle my struggle. His life became my life.”—Eric Bogosian“Virtuosic. A master writer, reporter, comic and playwright. Spalding Gray is a sit-down monologist with the soul of a stand-up comedian. A contemporary Gulliver, he travels the globe in search of experience and finds the ridiculous.”—The New York TimesIn 2004, we mourned the loss of one of America’s true theatrical innovators. Spalding Gray took his own life by jumping from the Staten Island ferry into the waters of New York Harbor, finally succumbing to the impossible notion that he could in fact swim to Cambodia. At a memorial gathering for family, friends and fans at Lincoln Center in New York, his widow expressed the need to honor Gray’s legacy as an artist and writer for his children, as well as for future generations of fans and readers. Originally published in 1985, Swimming to Cambodia is reissued here 20 years later in a new edition as a tribute to Gray’s singular artistry.Writer, actor and performer, Spalding Gray is the author of Sex and Death to the Age 14; Monster in a Box; It’s a Slippery Slope; Gray’s Anatomy and Morning, Noon and Night, among other works. His appearance in The Killing Fields was the inspiration for his Swimming to Cambodia, which was also filmed by Jonathan Demme.

    And it almost doesn’t exist, because its residents never got around to getting organized. So it’s just . . . Almost.One cold, clear Friday night in the middle of winter, while the northern lights hover in the sky above, Almost’s residents find themselves falling in and out of love in the strangest ways. Knees are bruised. Hearts are broken. Love is lost and found. And life for the people of Almost, Maine will never be the same.

    In a series of elegant, nonchronological scenes spanning the years from 1946 to 2015, the play hopscotches through Mary Page Marlowe’s quiet existence as an accountant from Ohio—complicating notions of what it means to lead a “simple life.”