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.

    Sons of a desert dwelling alcoholic and a suburban wanderer clash over a film script. Austin, the achiever, is working on a script he has sold to producer Sal Kimmer when Lee, a demented petty thief, drops in. He pitches his own idea for a movie to Kimmer, who then wants Austin to junk his bleak, modern love story and write Lee's trashy Western tale.

    His hero-worshipping friend Warren has just impulsively stolen $15,000 from his father, an abusive lingerie tycoon. When Jessica, a mixed-up prep school girl, shows up for a date, Warren pulls out a wad of bills and takes her off, awkwardly, for a night of seduction. A wildly funny, bittersweet, and moving story, This Is Our Youth is as trenchant as it was upon its acclaimed premiere in 1996.

    He's a straight-as-an-arrow lawyer and she's a free spirit always looking for the latest kick. Their new apartment is her most recent find-too expensive with bad plumbing and in need of a paint job. After a six day honeymoon, they get a surprise visit from Corie's loopy mother and decide to play matchmaker during a dinner with their neighbor-in-the-attic Velasco, where everything that can go wrong, does. Paul just doesn't understand Corie, as she sees it. He's too staid, too boring and she just wants him to be a little more spontaneous, running "barefoot in the park" would be a start...

    It received four Drama Desk Award nominations, including Outstanding New American Play. The 1983 revival was nominated for the Tony Award, Best Reproduction & the Drama Desk Award, Outstanding Actor in a Play (Pacino). In 1976 the play won an Obie Award for best new play.

    When the patriarch of the Weston clan disappears one hot summer night, the family reunites at the Oklahoma homestead, where long-held secrets are unflinchingly and uproariously revealed. The three-act, three-and-a-half-hour mammoth of a play combines epic tragedy with black comedy, dramatizing three generations of unfulfilled dreams and leaving not one of its thirteen characters unscathed.

    With keen insight and a ceaseless attention to detail, The Flick pays tribute to the power of movies and paints a heartbreaking portrait of three characters and their working lives. A critical hit when it premiered Off-Broadway, this comedy, by one of the country's most produced and highly regarded young playwrights, was awarded the coveted 2013 Susan Smith Blackburn Prize, an Obie Award for Playwriting and the 2014 Pulitzer Prize for Drama.

    After a critically acclaimed Broadway premier and successful film adaptation (starring Nicole Kidman, Aaron Eckhart, and Diane West), Rabbit Hole has been hailed as an artistic breakthrough for the highly regarded Lindsay-Abaire. A drama of what comes after tragedy, it captures “the awkwardness and pain of thinking people faced with an unthinkable situation—and eventually, their capacity for survival.” -USA TodayDavid Lindsay-Abaire is the Pulitzer-winning author of Rabbit Hole, which was made into a feature film. He is the author of Good People, Fuddy Meers, Wonder of the World, A Devil Inside and Kimberly Akimbo, as well as the book and lyrics to Shrek the Musical. He has written the screenplays for Rabbit Hole, Rise of the Guardians and Oz: The Great and Powerful. Born in South Boston, he now lives in Brooklyn.

    Presents the script of a 1988 play about a group of women in Chinquapin, Louisiana, who learn to draw upon their underlying strength and love to meet the challenges of life.

    Under the watchful gaze of his young assistant and the threatening presence of a new generation of artists, Mark Rothko takes on his greatest challenge yet: to create a definitive work for an extraordinary setting.A moving and compelling account of one of the greatest artists of the twentieth century, Mark Rothko, whose struggle to accept his growing riches and praise became his ultimate undoing.

    Set in the 1880s at the dawn of the age of electricity and based on the bizarre historical fact that doctors used vibrators to treat 'hysterical' women (and some men), the play centers on a doctor and his wife and how his new therapy affects their entire household. In a seemingly perfect, well-to-do Victorian home, proper gentleman and scientist Dr. Givings has innocently invented an extraordinary new device for treating "hysteria" in women (and occasionally men): the vibrator. Adjacent to the doctor's laboratory, his young and energetic wife tries to tend to their newborn daughter-and wonders exactly what is going on in the next room. When a new "hysterical" patient and her husband bring a wet nurse and their own complicated relationship into the doctor's home, Dr. and Mrs. Givings must examine the nature of their own marriage, and what it truly means to love someone.This laugh out loud, provocative and touching play premiered at Berkely Rep and subsequently marked Sarah Ruhl's Broadway debut opening at the Lyceum Theatre on November 19th, 2009.

    

    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.

    When one of them sets out to expose the truth, secrets become currency, the stakes get higher, and the trio s connection grows deeper in this searching, fiercely funny dark comedy with music.

    Gradually distancing herself from her friends, she watches them move from the idealism and political radicalism of their college years through militant feminism and, eventually, back to the materialism that they had sought to reject in the first place. Heidi's own path to maturity involves an affair with the glib, arrogant Scoop Rosenbaum, a womanizing lawyer/publisher who eventually marries for money and position; a deeper but even more troubling relationship with a charming, witty young pediatrician, Peter Patrone, who turns out to be gay; and increasingly disturbing contacts with the other women, now much changed, who were a part of her childhood and college years. Eventually Heidi comes to accept the fact that liberation can be achieved only if one is true to oneself, with goals that come out of need rather than circumstance. As the play ends she is still "alone," but having adopted an orphaned baby, it is clear that she has begun to find a sense of fulfillment and continuity that may well continue to elude the others of her anxious, self-centered generation.