Set to open in New York in the fall of 2001, this work focuses on fifteen-year-old Lisa, the daughter of a prostitute, and Clint, the car thief she runs away with to escape the misery of life with her mother. But the happier times that sullenly childlike Lisa yearns for never materialize, as Clint orders her to procure young runaways for him. No one notices that these teenage girls are missing until an anonymous call to the police reports their murders. Could the caller--and the killer--be Lisa? Rebecca Gilman has created a riveting, unsentimental portrait of a young woman whose most striking quality is not her capacity for evil but the depth of her emptiness, in an environment as harsh and unyielding as the contours of her life

    It is by turns poetic, uplifting, dark and funny as hell. Anthony is an introverted farmer and Rosemary is the woman who vows to have him at all costs. When Anthony's father threatens to disinherit his son, Rosemary steps into the middle of a land feud and family eccentricities beyond what one might imagine. On the brink of romantic catastrophe, this one-of-a-kind Irish heroine fights against time and mortality in hopes of securing her dream of love."Outside Mullingar is a charmer of a play... In [Shanley's] first work set in Ireland, he lovingly tends the roots and tills the soil of his ancestry, spinning a tale suffused with melancholy humor and a deep yearning for heart, home, land, faith and a sense of belonging.... Shanley has a poet’s ear for the lyrical music and twinkly humor of their dialogue." - Hollywood Reporter"Mullingar is Shanley’s best play since Doubt, and like that hit from a decade ago, it’s lean, dialectical and packed with wise saws and aphoristic gems." - Time Out New York"Shanley once again reveals both a touch of the poet and a fine gift of gab." - NY1"Wholly diverting... Mr. Shanley's finest work since Doubt... a softhearted comedy freckled with dark reflections on the unsatisfactory nature of life and the thorns of love." - New York TimesJohn Patrick Shanley is the author of Doubt: A Parable (Pulitzer Prize and Tony Award for Best Play), Danny and the Deep Blue Sea, Four Dogs and a Bone, Dirty Story, Defiance and Storefront Church, among many others. He wrote the teleplay for Live from Baghdad (Emmy nomination for Outstanding Writing for a Miniseries, Movie or Dramatic Special), and the screenplays for Doubt (Academy Award nomination for Best Adapted Screenplay), Five Corners (Special Jury Prize, Barcelona Film Festival), Alive, Joe Versus the Volcano, and Moonstruck (Academy Award for Best Original Screenplay).

    She meets the women of Lockerbie, who are fighting the U.S. government to obtain the clothing of the victims found in the plane s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim s families. THE WOMEN OF LOCKERBIE is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate. Winner of the silver medal in the Onassis International Playwriting Competition and the Kennedy Center Fund for New American Plays award.

    This new volume collects the author’s plays written in the past five years, including References to Salvador Dalí Make Me Hot ("effortlessly melds otherworldly fantasy with gritty realism to make sparks fly onstage."—The Journal News), Sueño (a reworking for Pedro Calderón’s Life is a Dream) and Sonnets for an Old Century, the author’s most recent work, which recently premiered in Los Angeles.Puerto Rican-born playwright José Rivera plays have been produced all over the world and his work has been translated into seven languages. His best known work includes Marisol and Each Day Dies with Sleep. "Rivera has a messianic mission to replace old and dying creeds with vibrant new visions."—Robert Brustein, New RepublicAlso available by José RiveraMarisol and Other Plays PB $15.95 1-55936-136-0 • USA

    Wealthy, overbearing Madame Rosepettle with her stuttering, awkward son Jonathan at her heels, arrives at a posh hotel with a man-eating tropical plant, pirahna fish and coffin in tow. Rosalie, a voluptuous babysitter from the couple next door "who never come home" attempts to seduce Jonathan and proves a formidable opponent to Madame herself.

    Written before 9/11, Homebody/Kabul premiered in New York in December 2001 and has had highly successful productions in London, Providence, Seattle, Chicago and Los Angeles. This version incorporates all the playwright's changes and is now the definitive version of the text.

    So the impresario's diminutive assistant blacks up and goes on as Otello. The tenor awakens, dons his costume, and thence follows a hilarious comedy involving two Otellos, a volatile Italian wife, an outrageous bellhop and a cynical impresario.

    He's a really good professional wrestler. He's not the champion though - that's the impossibly charismatic Chad Deity. When Mace discovers a young Indian-American Brooklyn kid whose charisma rivals that of the champ, Mace decides to get him a job in the company. Only problem is, the boss has a very specific plan for the duo: put them onscreen as terrorists. Kristoffer Diaz's The Elaborate Entrance of Chad Deity is a serious minded comedy about wrestling, geopolitics, and raisin bread."The Elaborate Entrance of Chad Deity...has the delicious crackle and pop of a galloping, honest-to-God, all-American satire." - The New York Times"Ladies and Gentlemen, in this corner of Chicago's rich theater scene, weighing in with a unique combo of vigorous physicality and wickedly intelligent humor, please put your hands together for The Elaborate Entrance of Chad Deity, a vibrantly entertaining, insightful new play about - wait for it - professional wrestling."- Variety

    The three are attended and visited by family and close friends: Agnes and her mother Felicity, estranged further by the latter's dementia; Brian and Beverly whose martial complications are exacerbated by Brian's new lover, Mark; and Joe and Maggie, unready for the strain of Joe's impending death and it's effect on their teenage son.

    . . and human endurance, this beautiful new edition features Wilder's unpublished production notes, diary entries, and other illuminating documentary material, all of which is included in a new Afterword by Tappan Wilder.Time magazine called The Skin of Our Teeth "a sort of Hellzapoppin' with brains," as it broke from established theatrical conventions and walked off with the 1943 Pulitzer Prize for Best Drama. Combining farce, burlesque, and satire (among other styles), Thornton Wilder departs from his studied use of nostalgia and sentiment in Our Town to have an Eternal Family narrowly escape one disaster after another, from ancient times to the present. Meet George and Maggie Antrobus (married only 5,000 years); their two children, Gladys and Henry (perfect in every way!); and their maid, Sabina (the ageless vamp) as they overcome ice, flood, and war -- by the skin of their teeth.

    Vanya and his adopted sister Sonia live a quiet life in the Pennsylvania farmhouse where they grew up, but their peace is disturbed when their movie star sister Masha returns unannounced with her twenty-something boy toy, Spike. A weekend of rivalry, regret, and raucousness begins!

    Jon's new film is being shown at a festival in Lansing, Michigan, and Vince has come from Oakland to see it. Over the course of the evening, Vince finally gets Jon to admit that ten years ago he date-raped Amy Randall, a girl whom they both dated in high school only then to reveal that he's taped their entire conversation. And not only that, he's invited Amy to have dinner with them that night. Beneath its suspenseful, high-stakes surface, TAPE examines questions of motive, memory, truth and perception.

    At first the Sycamore family seems mad, but it is not long before we realize that if they are mad, the rest of the world is really verklempt.

    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.

    Also living in Zurich at this time was a British consula official called Henry Carr, a man acquainted with Joyce through the theater and later through a lawsuit concerning a pair of trousers. Taking Carr as his core, Stoppard spins this historical coincidence into a masterful and riotously funny play, a speculative portrait of what could have been the meeting of these profoundly influential men in a germinal Europe as seen through the lucid, lurid, faulty, and wholy riveting memory of an aging Henry Carr.