Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship and abuse.

    The struggle of the self to remain intact has moved in her work from civil war, into the family, into the couple, into the individual, and finally into the theatre of phychosis: the mind itself. This play was written in 1999 shortly before the playwright took her own life at age 28. On the page, the piece looks like a poem. No characters are named, and even their number is unspecified. It could be a journey through one person's mind, or an interview between a doctor and his patient.

    . . . Lynn Nottage’s beautiful, hideous and unpretentiously important play [is] a shattering, intimate journey into faraway news reports.”—Linda Winer, Newsday“An intense and gripping new drama . . . the kind of new play we desperately need: well-informed and unafraid of the world’s brutalities. Nottage is one of our finest playwrights, a smart, empathetic and daring storyteller who tells a story an audience won’t expect.”—David Cote, Time Out New YorkA rain forest bar and brothel in the brutally war-torn Congo is the setting for Lynn Nottage’s extraordinary new play. The establishment’s shrewd matriarch, Mama Nadi, keeps peace between customers from both sides of the civil war, as government soldiers and rebel forces alike choose from her inventory of women, many already “ruined” by rape and torture when they were pressed into prostitution. Inspired by interviews she conducted in Africa with Congo refugees, Nottage has crafted an engrossing and uncommonly human story with humor and song served alongside its postcolonial and feminist politics in the rich theatrical tradition of Bertolt Brecht’s Mother Courage.Lynn Nottage’s plays include Crumbs from the Table of Joy, Fabulation, and Intimate Apparel, winner of the American Theatre Critics’ Steinberg New Play Award and the Francesca Primus Prize. Her plays have been widely produced, with Intimate Apparel receiving more productions than any other play in America during the 2005-2006 season.

    . . or so the feminists keep insisting. But somewhere along the way, the movement for female liberation sacrificed meaning for acceptance, and left us with a banal, polite, ineffectual pose that barely challenges the status quo. In this bracing, fiercely intelligent manifesto, Jessa Crispin demands more.Why I Am Not A Feminist is a radical, fearless call for revolution. It accuses the feminist movement of obliviousness, irrelevance, and cowardice—and demands nothing less than the total dismantling of a system of oppression.

    Derived from interviews with a wide range of  people who experienced or observed New York's 1991  Crown Heights racial riots, Fires In The  Mirror is as distinguished a work of  commentary on current Black-White tensions as it is a  work of drama.

    His death has brought into her midst both her sister, Claire, who wants to take Catherine back to New York with her, and Hal, a former student of Catherine's father who hopes to find some hint of Robert's genius among his incoherent scribblings. The passion that Hal feels for math both moves and angers Catherine, who, in her exhaustion, is torn between missing her father and resenting the great sacrifices she made for him. For Catherine has inherited at least a part of her father's brilliance -- and perhaps some of his instability as well. As she and Hal become attracted to each other, they push at the edges of each other's knowledge, considering not only the unpredictability of genius but also the human instinct toward love and trust.

    A transvestite and celebrated antiques dealer who successfully navigated the two most oppressive regimes of the past century-the Nazis and the Communists--while openly gay and defiantly in drag, von Mahlsdorf was both hailed as a cultural hero and accused of colluding with the Stasi. In an attempt to discern the truth about Charlotte, Doug Wright has written "at once a vivid portrait of Germany in the second half of the twentieth century, a morally complex tale about what it can take to be a survivor, and an intriguing meditation on everything from the obsession with collecting to the passage of time" (Hedy Weiss, Chicago Sun-Times).

    In lucid, persuasive prose, Brownmiller has created a definitive, devastating work of lasting social importance.Chosen by THE NEW YORK TIMES BOOK REVIEW as One of the Outstanding Books of the Year

    To clear my way, I must be allowed to ask some plain questions, and the answers will probably appear as unequivocal as the axioms on which reasoning is built; though, when entangled with various motives of action, they are formally contradicted, either by the words or conduct of men.In what does man's pre-eminence over the brute creation consist?The answer is as clear as that a half is less than the whole; inReason.

    By one of America's most talented playwrights, this play won the Dramatists Guild's prestigious Hull-Warriner Award, four Tony nominations, the Susan Smith Blackburn Prize, and the Pulitzer Prize in 1983. 'night, Mother had its world premiere at the American Repertory Theater in Cambridge, Massachusetts, in December 1982. It opened on Broadway in March 1983, directed by Tom Moore and starring Anne Pitoniak and Kathy Bates; a film, starring Anne Bancroft and Sissy Spacek, was released in 1986.

    It was the year the proportion of American women who were married dropped below fifty percent; and the median age of first marriages, which had remained between twenty and twenty-two years old for nearly a century (1890–1980), had risen dramatically to twenty-seven. But over the course of her vast research and more than a hundred interviews with academics and social scientists and prominent single women, Traister discovered a startling truth: The phenomenon of the single woman in America is not a new one. And historically, when women were given options beyond early heterosexual marriage, the results were massive social change—temperance, abolition, secondary education, and more. Today, only twenty percent of Americans are married by age twenty-nine, compared to nearly sixty percent in 1960.

    Debuting at the Richard Rodgers Theatre in 1990, Lost in Yonkers went on to win four Tony Awards, including Best Play, as well as the Pulitzer Prize, and tells the moving drama about the cruelties and painful memories that scar a family.It is New York, 1942. After the death of their mother, two young brothers are sent to stay with their formidable grandmother for the longest ten months of their lives. Grandmother Kurnitz is a one-woman German front—a refugee and a widow who has steeled her heart against the world. Her coldness and intolerance have crippled her own children: the boys' father has no self-esteem . . . their Aunt Gert has an embarrassing speech impediment . . . their Uncle Louie is a small-time gangster . . . and their Aunt Bella has the mentality of a child. But it is Bella's hunger for affection and her refusal to be denied love that saves the boys—and that leads to an unforgettable, wrenching confrontation with her mother. Filled with laughter, tears, and insight, Lost in Yonkers is yet another heartwarming testament to Neil Simon's talent.

    The same family appears in Act Two 25 years older and back in London, only now it’s 1979. Cloud 9 is about relationships between women and men, men and men, women and women. It is about sex, work, mothers, Africa, power, children, grandmothers, politics, money, Queen Victoria, and Sex. Cloud 9 premiered in London at the Royal Court Theatre in 1979 and has since been staged all over the world.

    A biting social commentary on an emotional world gone silently haywire, The Women's Room is a modern classic that offers piercing insight into the social norms accepted so blindly and revered so completely. Marilyn French questions those accepted norms and poignantly portrays the hopeful believers looking for new truths.

    Playwright Olympe De Gouge, assassin Charlotte Corday, and former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, loose their heads, and try to beat back the extremist insanity in revolutionary Paris. This grand and dream-tweaked comedy is about violence and legacy, feminism and terrorism, art and how we actually go about changing the world. It a true story. Or total fiction. Or a play about a play. Or a raucous resurrection that ends in a song and a scaffold.