Typical except that Cody is black--"rich, black, and different," in the words of Belinda, who finds herself attracted to a former (white) classmate. As the battle for her affections is waged, Belinda and Cody frankly doubt the foundation of their initial attraction, opening the door wide to a swath of bigotry and betrayal. Staged on continually shifting moral ground that challenges our received notions about gender, ethnicity, and even love itself, This Is How It Goes unblinkingly explores the myriad ways in which the wild card of race is played by both black and white in America.

    It finds in the lives of Maggie, her family and her neighbours not only all the tragedy that appalling housing, massive unemployment and grinding poverty can produce, but alo a rich vein of comedy - the sense of the ridiculous, the need for a good laugh.

    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.”

    Taking his inspiration from Dylan Thomas' Under Milk Wood, Louis de Bernières chose to celebrate his ten years of life in the south London suburb, living above a small shop that had been by turns an outlet for oversized naughty clothes for transvestites, a West Indian hairdressers and a junk shop, by writing of the people that he had known and come to love in his time there.Brilliantly capturing the myriad voices of modern Britain, with their different rhythms of speech and accents, their humour and their tragedy, jokes and gossip, de Bernières' tour de force takes us to the heart of a community and its spirit - the lives and loves, the tears and the laughter of its people.

    It is private. Both parties have an unspoken agreement never to repeat what is said. Not even to their spouses.The Audience breaks this contract of silence. It imagines a series of pivotal meetings between the Downing Street incumbents and their Queen. From Churchill to Cameron, each prime minister has used these private conversations as a sounding board and a confessional - sometimes intimate, sometimes explosive.From young mother to grandmother, these private audiences chart the arc of the second Elizabethan Age. Politicians come and go through the revolving door of electoral politics, while she remains constant, waiting to welcome her next prime minister.The Audience by Peter Morgan premiered at the Gielgud Theatre, London, in March 2013.

    She's just 17, hates her parents, skives college and prefers life in the chatrooms. What she's looking for is someone honest and direct. Instead she finds Tim, a man twice her age, who thinks she is 11 and a boy.What seems at first to be a case of crossed wires, ends up as an unlikely, and unsettling friendship between the two, which culminates in a shocking, and morally challenging revelation.

    When the outside world comes calling, intent on manipulation for political and economic reasons, the islanders find their own world blown apart from the inside as well as beyond. Further Than The Furthest Thing is a beautifully drawn story evoking the sadness and beauty of a civilisation in crisis.Further Than The Furthest Thing premiered at the Traverse Theatre, Edinburgh in August, 2000.

    Her mother, Nancy, retreats into a state of frozen hope. Agnetha, an academic, comes to England to research a thesis entitled Serial Killings: A Forgivable Act? Then there's Ralph, a loner with a bit of a record who's looking for some distraction . . . Drawn together by horrific circumstances, these three embark upon a long, dark journey that finally curves upward into the light.

    He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes himself. Yet this working-class Hamlet, the original Angry Young Man, is one of the most mesmerizing characters ever to burst onto a stage, a malevolently vital, volcanically articulate internal exile in the dreary, dreaming Siberia of postwar England.First produced in 1956, Look Back in Anger launched a revolution in the English theater. Savagely, sadly, and always impolitely, it compels readers and audiences to acknowledge the hidden currents of rottenness and rage in what used to be called "the good life."

    Through the skillfully disarming use of clichéd language and homilies, the play explores with subtle grace and depth the way the death of a child tears one family apart, while showcasing the talents of a promising young playwright who "in [a] very modern way [is] making a rather old-fashioned case for the power of the written word" (Jason Zinoman, The New York Times).Fresh from its critically acclaimed off-off-Broadway run this past spring, God's Ear moves off-Broadway to the Vineyard Theatre in April 2008.

    As their wedding day grows near, Alfred finds himself embroiled in an urban nightmare not the least of which is his fiance's family, the possiblity of marriage without Faith, muggings, and a sniper's bullet.

    From the writer of the award-winning film Lantana.It interweaves a series of connected stories as seven people confront the mysteries of their past in order to understand their future, revealing how patterns of betrayal, love and abandonment are passed on. Until finally, as the desert is inundated with rain, one young man finds the courage to defy the legacy.

    A volume containing the English texts of all the plays of Samuel Beckett, including "Waiting For Godot", "Krapp's Last Tape", "Endgame" and "Not I".

    From the best-selling playwright of Many Moons and Little Light, a feminist call to action.

    "What Lenny Bruce was to the 1950s, Bob Dylan to the 1960s, Woody Allen to the 1970s--that's what Eric Bogosian is to this frightening moment of drift in our history."--Frank Rich, The New York Times