Book by Wendy MacLeod, MacLeod, Wendy

    In the innovative original production, which Fornes herself directed, the audience follows the lives of eight women in five different "environments.” "Fornes is America's truest poet of the theater."—Erika Munk, Village Voice

    When a young actor from the big city lives with two aging bachelor farmers to gather stories about rural life, the farmers' lives are irrevocably altered when art attempts to imitate life and the line between truth and fiction is crossed.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    Skylight premiered at the National Theatre in 1995 and then went on to become one of the most internationally successful plays of recent years.This is the definitive edition of Skylight.

    Her burning desire is to return to the now desolate town of her childhood, against the inexorability of change and the refuge of memory. Foote earned an Oscar nomination for Best Adapted Screenplay in 1985 for his work on Bountiful.

    The playtext is reproduced here with footnotes which will be of no help to anyone and a letter from the authors to the Queen.

    

    Through deeply drawn characters—both real and in the form of artificial intelligence companions, or “Primes”—Harrison burrows into troubling questions of the digital age: What would we remember, and what would we forget, given the power of authorship? Will we be any less human, once computers know us better than ourselves?

    They like to live by the sea.Two retired nuclear scientists in an isolated cottage by the sea as the world around them crumbles. Then an old friend arrives with a frightening request.Lucy Kirkwood's previous plays include Chimerica (winner of the Olivier Award for Best Play, the Evening Standard Award, the Critics' Circle Best New Play Award and the Susan Smith Blackburn Prize), small hours, NSFW, and it felt empty when the heart went at first but it is alright now. The Children premiered at the Royal Court, London, in November 2016 and will receive its US premiere at Manhattan Theatre Club in the fall of 2017.

    legal system. The play centers on Juror Eight, who is at first the sole holdout in an 11-1 guilty vote. Eight sets his sights not on proving the other jurors wrong but rather on getting them to look at the situation in a clear-eyed way not affected by their personal prejudices or biases. Reginald Rose deliberately and carefully peels away the layers of artifice from the men and allows a fuller picture to form of them—and of America, at its best and worst.   After the critically acclaimed teleplay aired in 1954, this landmark American drama went on to become a cinematic masterpiece in 1957 starring Henry Fonda, for which Rose wrote the adaptation. More recently, Twelve Angry Men had a successful, and award-winning, run on Broadway.For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

    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

    A mystery, really. A man has been murdered. The mystery is, who he is, who murdered him and what were the circumstances? And to solve it, Wilson looks at the outsides and insides of his tiny, Middle Western town. He looks at a middle-aging woman who falls in love with the young man who comes to work in her cafe. He looks at a coarse, nasty woman mistreating her senile mother, who is obsessed with visions of Eldritch being evil and headed for blood-spilling. He looks at a tender relationship between a young man and a dreamy, crippled girl. But Wilson sees far more than this. He is grasping the very fabric of Bible Belt America, with its catchword morality ("virgin," "God-fearing") and its capability for the vicious. He senses the rhythm of its life and the cruelty it can impose. He understands the speech patterns of its loveless gossips, its sex-hungry boys, its compassionless preachers, its car-conscious blondes." In the end his portrait of Eldritch is full length, and the truth of its revelations will be pondered long after the stage lights have dimmed and the play has ended.

    That current is best identified by its catch-labels--Theater of the Absurd, Black Comedy, the Theater of Cruelty--which is to say the theater of alienation, of moral anarchy and despair. To the practitioners of those philosophies Man of La Mancha must seem hopelessly naive in its espousal of illusion as man's strongest spiritual need, the most meaningful function of his imagination. But I've no unhappiness about that. "Facts are the enemy of truth," says Cervantes-Don Quixote. And that is precisely what I felt and meant."--Dale Wasserman, from the Preface.

    a visionary work that bridges the history and culture of two worlds."--Frank Rich, New York TimesBased on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.TEXT OF THE BROADWAY REVIVAL