Dalloway -- a postmodern masterpiece whose minimal action takes place on a single June day in postwar London. The Hours progresses in fuguelike fashion: First we meet Clarissa Vaughan, a New York book editor dubbed "Mrs Dalloway" by her longtime friend and former lover Richard. Next, Cunningham presents Woolf herself, beginning work in 1923 on what is to become Mrs. Dalloway. And finally we are introduced to Laura Brown, a California housewife who is avidly reading Woolf's novel. Scenes from these three narratives are presented in recurrent identical succession: "Mrs. Dalloway," Mrs. Woolf, Mrs. Brown -- all bristling with connections and startling parallels. The "Mrs. Dalloway" strand is particularly rich, filled as it is with one-to-one correspondences to Woolf's novel. But the deepest and most important thing that The Hours shares with Mrs. Dalloway is "the feeling," as Woolf called it, "that it was very, very dangerous to live even one day." Cunningham's three women proceed through the day, through the hours, trying to keep themselves psychologically intact, like someone carrying a glass of water filled to the brim through a crowd and endeavoring not to spill it. They hesitate before plunging into the day because they know how hard it is to live in the world and remain identical with oneself. And they puzzle over a universal dilemma: how to bring the self into the world without its getting broken in the process. In The Hours, Michael Cunningham has explored this dilemma with an impressive and moving subtlety worthy of his great precursor. Benjamin Kunkel

    The Civil War is over and throughout the south, slaves are being freed, soldiers are returning home and in Jewish homes, the annual celebration of Passover is being celebrated. Into the chaos of war-torn Richmond comes Caleb DeLeon, a young Confederate officer who has been severely wounded. He finds his family's home in ruins and abandoned, save for two former slaves, Simon and John, who wait in the empty house for the family's return. As the three

    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.

    And what is more, she is so intensely interesting that the girls admire her above all else. But Miss Brodie is not honest. She prevaricates and then tells the girls to do as she tells them, not as she does herself. She is having an affair with the music teacher and has had one with the art teacher, and this is not the most exemplary conduct. A

    It tells the woeful tale of a group of 'fallen' women who have had their babies snatched from them at birth to be given up for adoption, and their wretched lives of drudgery earning their keep in the laundry.

    Join photojournalist Elizabeth Westbrook, schoolteacher Molly Whitcomb, and ranch owner Rachel Boyd as they seek to fulfill their dreams and hopes in an untamed land where every advancement is hard-fought, every opportunity is cherished, and where love has the power to change lives.

    platforms Winner of the American College Theatre Festival, this marvelously theatrical play is the story of a disturbed young man and his friendship with a disenchanted preacher in southern Indiana in the early 1930s. When the boy was young he almost drowned. This trauma and the loss of his mother in the same accident has left him deathly afraid of water. The preacher, set on breaking away from a long line of Kentucky family preachers, is determined not to do what h

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    From its passionate people, to its mystic wildlife, the outback becomes its own character in Elizabeth Haran's novel about learning how to thrive in the face of adversity.London 1954: When Estella is abandoned by her lawyer husband, James, her life of luxury crumbles. Not only had he left his job and frittered away their savings, James was cheating on Estella - with her cousin Davinia. But the family secrets didn't end there.Heartbroken, Estella turns her back on England. Her distant uncle Charlie beckons her to Australia, where she accepts a new position - village veterinarian. She had studied veterinary medicine, but she'd never had a real job. As Estella sets off for the outback, she carries secrets of her own: she is pregnant with James' baby.Day one in the bush brings the young Londoner to tears. Kangaroo Crossing, population thirteen, was not what Estella had expected. Sweltering. Dusty. Fly-infested. From the gruff propeller plane pilot to the perpetually drunken town doctor, the locals eye the newcomer with suspicion.After a series of harrowing events, Estella strives to prove herself capable of the job. Just as the villagers of Kangaroo Crossing start to accept Estella - and a romance starts to blossom - her past catches up with her. She's been hiding things from them.Back in England, James has gotten wind of the baby. His new wife, Davinia, can't have children - but her lavish inheritance depends on an heir. James will stop at nothing to get what is his. Can Estella save her baby - and herself - from the wild Australian bush? Will she ever learn to love again?

    But while rumors run wild and everyone forms an opinion, Scarlett just stays silent.With roles for up to twenty-four young female actors (though it can also be performed by a smaller cast), the play is perfect for any schools, youth theatres or drama groups looking to tackle a contemporary subject in a theatrically exciting way.Specially commissioned by Birmingham Repertory Theatre, Theatre Royal Plymouth and West Yorkshire Playhouse, Girls Like That was developed through work with young people from the three theatres and first performed by their youth theatre companies in 2013."[Tackles] strong, relevant issues... a well-written, immaculately crafted and brave piece of energetic theatre." - A Younger Theatre"An urgent, powerful and haunting examination... I can see this play becoming a very popular resource for 16+ groups and that will be no bad thing." National Drama MagazineEvan Placey is a Canadian-British playwright. His other work includes Mother of Him, Holloway Jones, which won the Brian Way Award for Best Play for Young People, and Pronoun, commissioned as part of the 2014 National Theatre Connections Festival.

    Also living in Zurich at this time was a British consula official called Henry Carr, a man acquainted with Joyce through the theater and later through a lawsuit concerning a pair of trousers. Taking Carr as his core, Stoppard spins this historical coincidence into a masterful and riotously funny play, a speculative portrait of what could have been the meeting of these profoundly influential men in a germinal Europe as seen through the lucid, lurid, faulty, and wholy riveting memory of an aging Henry Carr.

    It is "one of the most brilliantly original and entertaining new plays I have seen in years: wild, weird and funny, serious, compassionate and shocking, blasphemous and reverential, intellectual and frivolous, a factual fantasy, a demented farce, a black nightmare." (Sunday Times)

    These three plays exemplify Eugene O'Neil's ability to explore the limits of the human predicament, even as he sounds the depths of his audiences' hearts.