This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    A short critical essay which considers the significance of the title.

    Later, she was committed to Broadmoor "from where she may not be discharged without permission of the Home Secretary." Using a technique of multiple characterization, Find Me seeks to investigate in depth the personality of the young girl - to 'find her' - and at the same time studies the effects of her behavior on those around her.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    A series of scenes that gradually tell the story of how the financial collapse affects a British couple and how fiscal worry, stress, and fear can strain mankind's greatest emotion.

    It is a play to make us question a standard institution - Anzac Day, the sacred cow among Australian annual celebrations - but it is the likeability and genuineness of the characters that give the play its memorable qualities: Alf, the nobody who becomes a somebody on this day of days; Mum, the anchor of the family; Hughie, their son, with all the uncertainties and rebelliousness of youth; and Wacka, the Anzac, with his simple, healing wisdom.Undoubtedly one of Australia's favourite plays, the One Day of the Year explores the universal theme of father-son conflict against the background of the beery haze and the heady, nostalgic sentimentality of Anzac Day. It is a play to make us question a standard institution - Anzac Day, the sacred cow among Australian annual celebrations - but it is the likeability and genuineness of the characters that give the play its memorable qualities: Alf, the nobody who becomes a somebody on this day of days; Mum, the anchor of the family; Hughie, their son, with all the uncertainties and rebelliousness of youth; and Wacka, the Anzac, with his simple, healing wisdom.

    There he falls in love with his Queen Alexandra Corps nurse, Louise, and she with him.The story moves back and forth from their time at the field hospital to the west highlands of Scotland where Donald grew up. As they talk in the quiet hours he tells her the stories of the coast and glens, how his family lived and the fascinating life of a century ago: bagpiping, sheep shearing, celidhs, illegal distilling, his mother saving the life of the people of St Kilda, the navvies building the west highland railway and the relationship between the lairds and the people. Louise in turn tells her own story of growing up in the Welsh valley: coal mining, a harsh and unforgiving upbringing.They get cut off from the allied troops and with another nurse are forced to make their escape through Turkey to Greece, getting rescued by a Coptic priest and ending up in Malta. By this time their love is out in the open, but there is still another tragic twist to their story waiting on the way back to Donald’s beloved highland home . . .

    Theatre script, playbook

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

    Marcus Hubbard, rich, despotic and despised, made a fortune during the Civil War by running the blockade and worse. In his family life he is equally injurious: one son he bulldozes while the other he holds in contempt for his frailty. By Marcus's side stands his mentally deranged wife and, finally, Regina, the adored daughter amoral, conniving, and beautiful as an evil flower. Marcus, it would seem, has been on the top of the heap long enough and someone must depose him. Turning the tables on a tyrant has always made for high drama, and when Hellman puts her brilliant talents to work on such a theme the result is a play of great theatrical intensity.

    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.

    But how will they respond when love seems to blossom between local man Gavin Hamilton and the beautiful pearl-fisher Effie? The Pearl-fishers is a classic love story and the master storyteller’s last novel.

    What was life? What was love? What else could have been? Full of mordant, bitter humour, this is a passionate threnody from one of Ireland's leading playwrights.Woman and Scarecrow premieres at the Royal Court Theatre, London, in June 2006.

    First published in 1969, its 12 stories depict a vast cast of characters drawn from Orkney’s past and present, offering a range of emotions and incidents. They are elemental tales of the fishermen, crofters and farmers of the island and of the harsh, beautiful landscape in which they live.

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