Musical. STINKFOOT is an absurdist musical written by former Bonzo Dog Band frontman Vivian Stanshall (1943-1995) and his wife Ki Longfellow-Stanshall for their Old Profanity Showboat in Bristol. The musical was performed in December 1985 but has not been published before. The Sea Urchin edition will contain the script of the musical, lyrics and artwork by Vivian Stanshall, photos of the Bristol performances and an introduction by Ki Longfellow-Stanshall.

    Frank Baum's The Wonderful Wizard of Oz. The production called for the casting of many dwarfs to play the Munchkins of the mythical Land of Oz and the studio began recruiting 'small persons' from all over the world. During production, rumours spread around Hollywood of wild Munchkin sex orgies, drunken behavior and general dwarf debauchery. More sinisterly, a Munchkin is said to have committed suicide by hanging himself on the set during filming - what appears to be a small human body is clearly visible hanging from a tree in the Tin Man scene. It is a claim that has passed into Hollywood legend. Set in a hotel room in Culver City, California, Babylon Heights is Irvine Welsh and Dean Cavanagh's scabrous and hilarious imagining of what could, very possibly, have led to that dwarf suicide. Babylon Heights premiered at the Exit Theatre, San Francisco, in June 2006.

    The dialogue crackles with hilarious, caustic putdowns as the indomitable Maggie deals with her feckless family and unwanted suitors. Everyone wants a part of Big Maggie and her property but she has other ideas.

    The family in focus is that of two brothers, Jiten and Nitin, who run an advertising agency and are married to sisters: Dolly and Alka. Their mother, Baa, moves between the two households, attached more to her memories of the past than to any present reality. Marital friction, sibling rivalry, the traditional tension between mother-in-law and daughters-in-law, the darker moments of business and personal dealings, the play takes us through the entire gamut of emotional experience as it winds to a climactic finish. With its relentless pace, crisp idiom and unflinching insight into the urban milieu, this is a play that confirms Mahesh Dattani's reputation as India's most influential playwright.

    Hold tight as the ordinary turns extraordinary in Mark O’Rowe’s exhilarating new play. A blackly comic vision of Dublin infested with demons, from the author of Howie the Rookie.

    He hates his father for leaving him and his sister, Georgie, alone. He hates him for turning his mother into a young widow who hasn't left the house in months. And he hates his father for leaving behind his stupid tree. Four of them are planted outside the restaurant, one for each family member. That is until Carson's mother, no longer able to stand the sight of the tree, hires a local landscaper to remove it in the middle of the night. This seemingly unremarkable act soon sets in motion of series of events in the small Colorado ski town that leaves more than just young Carson groping in the dark for answers. The Roadrunner Café is a unique novel told from multiple points of view about loss and the lengths some will go to heal the human heart. Ultimately, it is a story about what it takes to go on living even when everything in the world might be telling us it isn't possible to.

    It won the 1995 Evening Standard Award for Best Comedy and, the Writers' Guild for Best West End Play."An exceptionally accomplished first play . . . though I know nothing about poker, I testify to the compulsive grip this play exerts and to the accumulation of meanings it ignites in your head."—Financial Times"Patrick Marber's enthralling close-up of the demons which drive compulsive gamblers is among the finest new plays in many a year."—Daily Mail

    Her plays have been produced in many theatres across the U.S. including Second Stage (NY), South Coast Rep (Costa Mesa), Yale Repertory Theatre (New Haven), Alliance Theatre (Atlanta) and Steppenwolf (Chicago). She has won the Heideman and the White Bird awards and was a runner-up for the Susan Blackburn award.

    In Michael Meyer's fluent, idiomatic translations, The Wild Duck and Hedda Gabler stand as masterpieces of naturalist drama.

    The story in Someday, though told through fictional characters and full of Taylor's distinctive wit and humour, is based on the real-life tragedies suffered by many Native Canadian families.Anne Wabung's daughter was taken away by children's aid workers when the girl was only a toddler. It is Christmastime 35 years later, and Anne's yearning to see her now-grown daughter is stronger than ever.When the family is finally reunited, however, the dreams of neither women are fulfilled.The setting for the play is a fictional Ojibway community, but could be any reserve in Canada, where thousands of Native children were removed from their families in what is known among Native people as the "scoop-up" of the 1950s and 1960s. Somedayis an entertaining, humourous, and spirited play that packs an intense emotional wallop.Reviews: "One of the 50 Essential Canadian Plays"-- Toronto Star

    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.

     In remote Pakistan, Nick Bright awaits his fate. A successful financial trader, Nick is kidnapped by an Islamic militant group, but with no one negotiating his release, he agrees to an unusual plan. He will earn his own ransom by helping his captors manipulate and master the world commodities and currency markets. "[A] tense, provocative thriller about the unholy nexus of international terrorism and big bucks...."-Seattle Times "Ahktar again turns hypersensitive subjects into thought-provoking and thoughtful drama"-Newsday "The prime theme is pulsing and alive: when human lives become just one more commodity to be traded, blood eventually flows in the streets"-Financial Times "Whip-smart and twisty"-Time Out New York "The Invisible Hand offers genuine insight into the future of the West" (Village Voice).

    These “seven stories” lead to a charming and surprising ending.Cast of 2 women and 3 men.

    MacLeod’s young protagonist enters all the bright open avenues of peer-group play and the dark blind alleys of individual and collective terror, as she discovers within herself both the capacity for and the conflict between impulses of good and evil. In thinking back on the history of her own tight-knit group of friends, she begins to see how in the excitement of belonging to a ritualized, secret collective, the self is created by the increasing dehumanization of the other—of both the bully and the victim. The Shape of a Girl goes far beyond a simple dramatization of the seemingly inexplicable code of silence and tacit complicity which surrounded the sensationalized Reena Virk murder in 1997 on which the play is based. It speaks eloquently and compassionately to a world increasingly dominated by all forms of collectivised and ritualized tribalist hatred, and offers the embrace of trust as the only way out of this circle of violence.Jewel is also based on a real-life catastrophe—the sinking of the Ocean Ranger, an oil rig off the coast of Newfoundland, on Valentine’s Day, 1982. Three years later, a widow, Marjorie Clifford, at home in her trailer in Fort St. John, British Columbia, begins to take the first step in understanding that the humanity of love, in all of its tentative frailty, uncertainty and promise, can free a life paralyzed and dominated by loss.

    The people, including five comic characters abandoned or greatly diminished in the later play, "Uncle Vanya," for which Chekhov borrowed his own characters and material, do not allow themselves to be daunted. This translation of The Wood Demon was produced by the Mark Taper Forum as a classics lab workshop production in 1992...