But before she can hit send, her girlfriend reveals that he has always identified as a man and now wants to start living as one.Now Alice must face a question she never thought she'd ask . . . does this mean she's straight?A bittersweet comedy about gender, sexuality and being a long way from home.A programme text edition which was published to coincide with the world premiere at Theatre503, London, on 27 October 2015

    St Maugham and her granddaughter Laurel, a disturbed child under the care of Miss Madrigal, a governess. The setting of the play was inspired by Bagnold's own garden at North End House in Rottingdean, near Brighton, Sussex, the former home of Sir Edward Burne-Jones. The work has since been revived numerous times internationally, including a film adaptation in 1964.

    a visionary work that bridges the history and culture of two worlds."--Frank Rich, New York TimesBased on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.TEXT OF THE BROADWAY REVIVAL

    Booklet bought for a college class. No internal marking. Looks "like new". Please ask if questions.

    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.

    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.”

    It has been produced and taught all over the world. Its companion play, The Destiny of Me, is the stirring story of an AIDS activist forced to put his life in the hands of the very doctor he has been denouncing.

    Norman, who works in a doughnut shop and is unable to resist the lure of the sweet pastries, takes great pride in the huge bundle of keys that dangles from his waist; Lucien P. Smith has the mind of a five-year-old but imagines that he is able to read and comprehend the weighty books he lugs about; Arnold, the ringleader of the group, is a hyperactive, compulsive chatterer, who suffers from deep-seated insecurities and a persecution complex; while Barry, a brilliant schizophrenic who is devastated by the unfeeling rejection of his brutal father, fantasizes that he is a golf pro. Mingled with scenes from the daily lives of these four, where "little things" sometimes become momentous (and often very funny), are moments of great poignancy when, with touching effectiveness, we are reminded that the handicapped, like the rest of us, want only to love and laugh and find some meaning and purpose in the brief time that they, like their more fortunate brothers, are allotted on this earth.

    Son's story is deceptively simple: two young women in New York meet, talk about their boyfriends, feel a growing, unspoken attraction for each other, and finally kiss. And that one innocent kiss sets off a savage gay-bashing. But even as Stop Kiss confronts the reality of physical violence, Son's imaginative, moving, and surprising comedy brings audiences -- and her principal characters -- to unexpected places.Callie is holding down a job as a radio traffic reporter when she meets Sara, a midwesterner who, against her parents' wishes, has moved to the city to teach third-grade students in the Bronx. Both have boyfriends, but as they get to know each other, their shared experiences and sense of humor create a strong bond. The tragic consequences of their kiss -- the center of this powerful drama -- serve as both an indictment of hatred and a moving study of the perils inherent in living life fully.

    What Rebecca Gilman makes of this familiar scenario is something startlingly real and compelling, delving deeply into the small space that can divide a feeling of hope from one of hopelessness, as Curt and Sandy both try to get a foothold in the American dream of a house, a job, a life, a relationship with another human being.Gilman's previous play, Boy Gets Girl, was acclaimed by Time magazine as the best play of 2000, saying that "with Spinning into Butter, her play about race relations on campus, Rebecca Gilman gave notice that she was a playwright to watch. And with this intense drama of a woman's encounter with a stalker, she became one to hail . . . It's not just a gripping play but also an important one." Marked by Gilman's characteristically sharp delineation of character, pitch-perfect dialogue, and effortless use of humor that is both biting and silly, Blue Surge is a worthy successor to these plays--an intimate look at the class struggle in America today as well as a brilliant example of the dramatic craft from one of today's most accomplished practitioners. It will have its world premiere at the Goodman Theatre in Chicago in the spring of 2001.

    King James commissions Shakespeare to write a play about the Gunpowder Plot.

    The four hour-plus play begins with a soliloquy in which he explains his cynical disillusionment with love.Each act focuses on a different phase in Arnold's life. In the first, Arnold meets Ed, who is uncomfortable with his bisexuality. In the second, one year later, Arnold meets Alan, and the two settle down into a blissful existence that includes plans to adopt a child, until tragedy strikes. In the third, several years later, Arnold is a single father raising gay teenager David. Arnold is forced to deal with his mother's intolerance and disrespect when she visits from Florida.

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

    "The two rooms of the title are a windowless cubicle in Beirut where an American hostage is being held by Arab terrorists and a room in his home in the United States which his wife has stripped of furniture so that, at least symbolically, she can share his ordeal."Two Rooms received its world premiere at the La Jolla Playhouse in California on June 21, 1988. The cast is two men and two women.

    Blood Wedding tells the story of a couple drawn irresistibly together in the face of an arranged marriage; Doña Rosita the Spinster follows the appalling fate of a young woman beguiled into the expectation of marriage and left stranded for a lifetime whilst Yerma is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. Set in and around his home territory, Granada, the plays return again and again to the lives of passionate individuals, particularly women, trapped by the social conventions of narrow peasant communities. The plays appear here in new playable translations.