Carol's formidable father is also expected. Then the lights fuse, and the the arrival of several other unexpected visitors in the darkness wrecks the evening.

    The superstitious townspeople resent their happiness and their subsequent meddling ends in violence and tragedy. This play was proclaimed a Broadway hit.

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.

    He employs a matchmaker a woman who subsequently becomes involved with two of his menial clerks, assorted young and lovely ladies, and the headwaiter at an expensive restaurant where this swift farce runs headlong into a hilarious complications. After everyone gets straightened out romantically and has his heart's desire, the merchant finds himself affianced to the astute matchmaker herself. He who was so shrewd in business is putty in the hands of Dolly Levi. He is fooled by apprentices in a series of hilarious hide and seek scenes, and finally has all his bluster explode in his face.

    Phipps is “one of those rescues who are all the rage these days,” an upscale Manhattan dog with a rich owner, a great dog walker and an idyllic New York lifestyle. But his world is turned upside down when his owner, Angie DeSoto, suddenly passes from pancreatic cancer. The good news is that Angie leaves her millions to Mr. Phipps and he finds himself temporarily in the care of Devin McCloud, his dog walker and best bud. The bad news is that her adult children, a contentious clan at best, are furious about being left out in the cold, money-wise. And there's more. According to the terms of the will, Mr. Phipps and his millions will go to one of Angie's progeny, specifically the one best qualified to take care of him. After a brief trial period in which each one takes the dog, their efforts will be judged by a panel of dog experts – a famous, Cesar Millan-style dog trainer, a pet psychic and a renowned behaviorist. To further complicate matters, love will strike on several fronts as Mr. Phipps tells his story and his fate unfolds in this charming canine romantic comedy that reads like a date night version of "Marley and Me".

    To say the least. She calls Sweet Meadow, Georgia, home, where she works for her father doing auto repairs. She also drives the tow-truck, although Sweet Meadow's rather colorful denizens tend to treat Bertie more like the local, free taxi service. You know, someone has to get to a doctor's appointment or pick something up at the dry cleaners. Bertie's favorite day of the week is Friday, when she leaves the wrecker with her father for the whole weekend and joins her friends at the Dew Drop Inn for a night of dancing. Her best friend, Mary Lou, sometimes fixes her up with dubious dates, although Bertie has to remind her friend not to tease her hair too high for those occasions. Like the time when they went to Carrie Sue's open house, and a ceramic cow with angel wings hanging from a ceiling fan locked its hooves into Bertie's big hair and refused to let go. She had to wear it all night, dangling chain and all. Bertie's nearly perfect life is about to take a downhill turn, however. It starts when her landlord, Pete, currently a resident in a nearby nursing home, starts showing up at her house. In his birthday suit. A very badly wrinkled birthday suit. And then she goes to her mailbox, a rubber large mouth bass, and finds a notice from the zoning commission saying she can no longer park the wrecker in her driveway. The notice is signed by George Bigham. But when she goes to the courthouse to take care of her little problem, it is only to discover George Bigham is deceased. And Mary Lou's pregnancy test just came up positive. Can it get any worse? In a word... yes.

    The guide presents the major debates that surround these works as they develop, from Martin Esslin's early appropriation of the plays as examples of the Theatre of the Absurd, to recent poststructuralist and postcolonial readings by critics such as Steven Connor, Mary Bryden and Declan Kiberd. Throughout, Boxall clarifies and contextualizes critical responses to the plays, and considers the difficult relationship between Beckett and his critics.

    Gardner, once a famous poet, now is retired. He slips in and out of senility as his wife Fanny valiantly tries to keep them both afloat. They have asked their daughter, Mags, to come home and help them move. Mags agrees, for she hopes as well to finally paint their portrait. She is now on the verge of artistic celebrity herself and hopes, by painting her parents, to come to terms with them and they with her. Mags triumphs in the end as Fanny and Gardner actually step through the frame and become a work of art ineffable and timeless.

    Pavle leaves town to think things over. Weeks later, a deformed corpse is found washed up on the banks of the Danube and is identifed to be that of Pavle. The case is judged a suicide. Three years later, Pavle, now "the deceased," unexpectedly returns. He discovers that his heirs have not only plundered his estate, but also refuse to recognize him as being "legally" alive, and they unite to keep him "dead" to maintain the status quo. This is the first English translation of a masterful and darkly comic play that will enter its rightful place as a world classic. The fluid and natural translation lends itself to theatrical production. Comically absurd, filled with existential angst, it was ahead of its time in 1937. At once vaudevillian and modernist, it is distinguished by clever plotting and stinging dialogue. The play stands as a lasting and caustic satire of human greed, strangely consonant with todays society.

    The scene is Mrs. Orcutt's boarding house, where the hopes and ambitions of sixteen young women are revealed in scenes of entertaining comedy. Contrasted with this are the cases of the girl without talent and the elderly actress whose days are over. The central plot has to do with courageous Terry Randall, who fights against discouragement to a position in the theater where we are sure she will conquer. One of her fellow aspirants gives up in despair, one gets married, and one goes into pictures, but Terry, with the help of idealistic David Kingsley, sticks to her guns.

    Booklet bought for a college class. No internal marking. Looks "like new". Please ask if questions.

    Combining Adam's inimitable comedic voice and four-color illustrations by his friend Michael Narren, Rich Man Poor Man is a hilariously accurate look at what the people born with silver spoons in their mouths have in common with the people whose only utensils are plastic sporks stolen from a Shakey's.

    Let's take check: Finn Bar, slightly ruffled but still in fighting form. Maggie, could do with a full night's sleep but otherwise all in order... Stay here. Don't answer the door. I'll go out and get some proper food.In a new flat, three children play hide and seek. Eliot wears a crown, little Finn, King of the Wild Thing's, draws on the walls. Maggie climbs them. Hiding from the world, needing to be found, their one shared focus a mobile phone. Will it ring? Who will call? And what are they waiting for?Tusk Tusk is a tale of family loyalty as an uncertain future circles. Polly Stenham's second play premiered at the Royal Court Theatre, London, in March 2009.

    (Theater Communications Group)"Baker may just have the subtlest way with exposition of anyone writing for the theater today ... There is something distinctly Chekhovian in the way her writing accrues weight and meaning simply through compassionate, truthful observation."            --Charles Isherwood, New York Times"Baker has a soft spot for the abandoned, the discarded, the hard-luck case ... her heartbreaking works of staggering focus have actually rescued realism from the aesthetic scrap heap."            --Helen Shaw, Timeout New York"Baker is a writer whose plays have a quiet, hypnotic charm a grace and humor. She's able to take ordinary, low-key situations--a small-town acting class, guys wasting time in an alley behind a café--and fill them with gentle comedy, generosity of spirit and an eye (and ear) for the foibles that make us all so hopelessly human."            --Village Voice

    "The Beauty Queen of Leenane" portrays ancient, manipulative Mag and her virginal daughter, Maureen, whose mutual loathing may be more durable than any love. In "A Skull in Connnemara," Mick Dowd is hired to dig up the bones in the town churchyard, some of which belong to his late and oddly unlamented wife. And the brothers of "The Lonesome West" have no sooner buried their father than they are resuming the vicious and utterly trivial quarrel that has been the chief activity of their lives. "[McDonagh is] the most wickedly funny, brilliantly abrasive young dramatist on either side of the Irish Sea.... He is a born storyteller."--"New York Times"