It was only when Max Ophuls made his famous film in 1950 that the work became better known as La Ronde. Now David Hare has reset these circular scenes of love and betrayal in the present day, with a cast of two actors playing a succession of characters whose sexual lives enmesh like a daisy chain. The Blue Room is a meditation on men and women, sex and social class, actors and the theater. With deft insight about the gap between the sexes, The Blue Room takes the treacherous Freudian subject of projection and desire and reinvents it in a bittersweet landscape that is both eternal and completely up-to-date.

    

    It enables us to recognise the ridiculous, and to empathise with life’s disasters. Take the lives of a self-deprecating couple from England, steeped in life’s troubles, and whisk them across the Channel. Laugh with them as they encounter hilarious situations en France – from troublesome workmen, the infamous bureaucracy, and even sex à la française! Take notes on this transition from English doom and gloom to la belle vie française, and follow the exploits of this oh-so-recognisable English couple. What could possibly go wrong?

    Catherine's lack of worldliness prevents her from realizing that the young man proposing to her is not entirely drawn to her by her charm. Catherine's father, a successful doctor, sees through the fortune hunter and forbids the marriage, but his daughter proposes an elopement that fails to materialize because the young man knows most of her expected fortune will go elsewhere if he marries her. Catherine retires into a little world of her own. But the fortune hunter turns up once more and again proposes to her. For a moment, Catherine leads him to believe that she will accept him, but when he calls by appointment, she locks the door, blows out all the lights and allows him to realize that she will not be fooled for the second time.

    The tables turn when Marjorie is able to subdue Raul and keep him tied up in her fireplace. When Terry and Patricia, Marjorie's roommates, come home, they are shocked and begin discussing how to handle the situation: call the police or take matters into their own hands?

    Son's story is deceptively simple: two young women in New York meet, talk about their boyfriends, feel a growing, unspoken attraction for each other, and finally kiss. And that one innocent kiss sets off a savage gay-bashing. But even as Stop Kiss confronts the reality of physical violence, Son's imaginative, moving, and surprising comedy brings audiences -- and her principal characters -- to unexpected places.Callie is holding down a job as a radio traffic reporter when she meets Sara, a midwesterner who, against her parents' wishes, has moved to the city to teach third-grade students in the Bronx. Both have boyfriends, but as they get to know each other, their shared experiences and sense of humor create a strong bond. The tragic consequences of their kiss -- the center of this powerful drama -- serve as both an indictment of hatred and a moving study of the perils inherent in living life fully.

    The Iron Age. The Age of Oil.The Stone Age didn't end for want of stones. What do you do when you know it's going to run out? Oil follows the lives of one woman and her daughter in an epic, hurtling crash of empire, history and family.Ella Hickson's explosive new play drills deep into the world's relationship with this finite resource.Oil premiered at the Almeida Theatre, London, in October 2016.

    At the Cafe Chez Francis, a group of promoters plot to tear up Paris in order to unearth the oil which a prospector believes he has located in the neighborhood. These grandiose plans come to the attention of The Madwoman of Chaillot who is ostensibly not normal in her mind but who is soon shown to be the very essence of practical worldly goodness and common sense. She sees through the crookedness of the prospector and insists that the world is being turned into an unhappy place by the thieves and those who are greedy for worldly goods and power. At a tea party attended by other "mad" women of Paris, she has brought together representatives of the despoilers of the earth and wreckers of its happiness, and has them tried and condemned to extermination. In a scene which mounts into the realms of high poetic comedy, she sends the culprits one by one, lured by the scent of oil and undreamed-of riches, into a bottomless pit which opens out of her cellar. The exodus of the wicked is accompanied by another and more beautiful miracle: Joy, justice and love return to the world again. "

    While Roxane is in love with the beautiful but inarticulate Christian.Cyrano's generous offer to act as go-between sets in motion a poignant and often hilarious love-triangle, in which each character is torn between the lure of physical attraction and the seductive power of words.Martin Crimp's adaptation of Edmond Rostand's Cyrano de Bergerac premiered at the Playhouse Theatre, London, in November 2019.

    

    Our story begins with falling in love with France, specifically the enchanting Dordogne. We weren’t the first and we won’t be the last. The region was an inspiration to prehistoric man, as the earliest known works of art are to be found in the nearby caves of Lascaux. From the 1000 chateaux perched on towering cliffs overhanging the meandering Dordogne River to the countless plus beaux villages (most beautiful villages) dotting the region, it is truly a magical place.The first book is a roller-coaster ride of the ups and downs of making the dream a reality, beginning with, Oh my God, are we really doing this?! To looking for the home, getting a loan, wading through the red tape of actually moving, and studying French! Finally, the most important part of making “our” dream come true, adopting a baby girl to make the journey complete.

    Forced to abandon the life he has built, he embarks on a last, frantic search to recruit a friend, anyone, to speak in his defence. But Death is close behind, and time is running out.One of the great primal, spiritual myths, Everyman asks whether it is only in death that we can understand our lives. A cornerstone of English drama since the 15th century, this new adaptation by Poet Laureate Carol Ann Duffy was presented at the National Theatre, London, in April 2015.

    As the action unfolds, the residents, ranging from young to old, from the defiant to the resigned, meet and talk and interact with each other during the course of one day. The drama is of passing events in their lives, of everyday encounters and of the human comedy, with conversations often overlapping into a contrapuntal musical flow. In the resulting mosaic each character emerges clearly and perceptively defined, and the sum total of what they are-or wish they were-becomes a poignant, powerful call to America to recover lost values and to restore itself in its own and the world's eyes.

    She meets the women of Lockerbie, who are fighting the U.S. government to obtain the clothing of the victims found in the plane s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim s families. THE WOMEN OF LOCKERBIE is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate. Winner of the silver medal in the Onassis International Playwriting Competition and the Kennedy Center Fund for New American Plays award.

    As their wedding day grows near, Alfred finds himself embroiled in an urban nightmare not the least of which is his fiance's family, the possiblity of marriage without Faith, muggings, and a sniper's bullet.