It chronicles the playwright at the age of eighteen during the early 1930s when he worked at an auto parts warehouse in New York to save enough money to attend college. This scholarly edition with extensive commentary and notes is ideal for students.

    Agnes stays at a hotel in hopes of avoiding her physically abusive ex-husband, Jerry, who was just released from prison. At first, she lets Peter sleep platonically on her floor, but not long after she promotes him to the bed. Matters become more complicated as Jerry eagerly returns to the woman he loves to beat her up, expecting to resume their relationship. On top of that, there s a hidden bug infestation problem that has both Agnes and Peter dealing with scathing welts and festering sores which has Peter believing this is the result of experiments conducted on him during his stay at an army hospital. Their fears soon escalate to paranoia, conspiracy theories and twisted psychological motives.

    At the end of a long day in which the actresses Thomas auditions fail to impress him, in walks Vanda, very late and seemingly clueless, but she convinces him to give her a chance. As they perform scenes from Thomas’s play, and Vanda the actor and Vanda the character gradually take control of the audition, the lines between writer, actor, director, and character begin to blur. Vanda is acting . . . or perhaps she sees in Thomas a masochist, one who desires fantasy in “real life” while writing fantasies for a living.   An exploration of gender roles and sexuality, in which desire twists and turns in on itself, Venus in Fur is also a witty, unsettling look at the art of acting—onstage and off.

    The one house belongs to Flo Owens, who lives there with her two maturing daughters, Madge and Millie, and a boarder who is a spinster school teacher. The other house belongs to Helen Potts, who lives with her elderly and invalid mother. Into this female atmosphere comes a young man named Hal Carter, whose animal vitality seriously upsets the entire group. Hal is a most interesting character, a child of parents who ignored him, self-conscious of his failings and his position behind the eight ball. Flo is sensitively wary of temptations for her daughters. Madge, bored with being only a beauty, sacrifices her chances for a wealthy marriage for the excitement Hal promises. Her sister, Millie, finds her balance for the first time through the stranger's brief attention. And the spinster is stirred to make an issue out of the dangling courtship that has brightened her life in a dreary, minor way.

    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.

    Dowd starts to introduce his imaginary friend Harvey, a six and a half foot rabbit, to guests at a dinner party, his sister, Veta, has seen as much of his eccentric behavior as she can tolerate. She decides to have him committed to a sanitarium to spare her daughter, Myrtle Mae, and their family, from future embarrassment. Problems arise, however, when Veta herself is mistakenly assumed to be on the fringe of lunacy when she explains to doctors that years of living with Elwood's hallucination have caused her to see Harvey also! The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion. When he shows up at the sanitarium looking for his lost friend Harvey it seems that the mild-mannered Elwood's delusion has had a strange influence on more than one of the doctors. Only at the end does Veta realize that maybe Harvey isn't so bad after all.

    Both are struggling to escape from lingering parental domination and to establish their own lives and identities. In Janie's case this leads to an inconclusive involvement with a young Jewish doctor who calls her "Monkey"; while Harriet assails the world of big business and has an affair with her hard-driving (and married) boss. Told in a fast-moving series of inventive, alternately hilarious and touchingly revealing scenes, the play explores their parallel stories with uncommon wit and wisdom-resulting, ultimately, in a heightened awareness which, while not providing all the answers, goes a long way toward achieving the maturity and self-assuredness that both protagonists so desperately desire.

    Lindsay-Abaire offers us both his "quiet three-dimensional depth" ("Los Angeles Times") and his carefully observed humor in this exploration of life in America when you're on your last dollar.

    The setting is a walk-up apartment on Manhattan's West Side where, as the curtain rises, Frankie (a waitress) and Johnny (a short-order cook who works in the same restaurant) are discovered in bed. It is their first encounter, after having met several weeks ago on the job, and Frankie is hopeful that Johnny will now put on his clothes and depart, so she can return to her usual routine of watching TV and eating ice cream. But Johnny, a compulsive talker (and romantic), has other ideas. He is convinced that he loves Frankie, a notion that she, at first, considers to be ridiculous. She has had more disappointments than delights in life, and he is the veteran of one broken marriage already. And neither of them is in the bloom of youth. Yet out of their sometimes touching, sometimes hilarious interplay the promise of a relationship beyond a "one-night stand" does begin to emerge and, as the lights dim, the two are back in bed again, but this time side-by-side, holding hands before the glowing television screen.

    The tragicomedy of race, class, manners and naivete of liberalism.

    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 complete scripts to six Sam Shepard plays: The Unseen Hand, Forensic and the Navigators, The Holy Ghostly, Back Bog Beast Bait, Shaved Splits, 4-H Club.

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

    Rose never goes out, Bert only goes to drive his van with furious aggression. A young couple call, and then a blind black man. Bert comes home, massive with triumph at smashing every car that challenged his van. Finding the stranger he kicks him to death and Rose goes blind.

    Maria was young and innocent and had never known love—until Tony. And he, who had been seeking something beyond the savagery of the streets, discovered it with her. But Maria’s brother was leader of the Sharks and Tony had once led the rival Jets. Now both gangs were claiming the same turf. Tony promised Maria that he would stay out of it. Would he be able to keep his word? Or would their newfound love be destroyed by sudden death?