As a blizzard rages outside, a lonely figure, Henry Harry, lies sleeping under a heap of blankets. Suddenly, he is awakened by the insistent knocking of an unexpected visitor who turns out to be Rosannah DeLuce, a distraught young woman who has fled all the way from Arizona to escape her impending marriage, and who bursts into the cabin dressed in full bridal regalia. Exhausted, she throws herself on Henry's mercy, but after sleeping for two days straight, her vigor and combativeness return. Both characters, it develops, have been wounded and embittered by life, and both are refugees from so-called civilization. Thrown together in the confines of the snowbound cabin, they alternately repel and attract each other as, in theatrically vivid exchanges, they explore the pain of the past and, in time, consider the possibilities of the present. In the end their very isolation proves to be the catalyst that allows them to break through the web of old griefs and bitter feelings that beset them both and to reach out for the solace and sanctuary that only hard-won understanding, self-awareness and compassion for the plight of others can bestow.

    Premiering at the Royal Court, NSFW is a sharp, biting, satirical new comedy that marks the breakthrough of one of the United Kingdom's most exciting playwrights.

    Created by The United States Theatre Project, written by Stephen Karam and PJ Paparelli, with dramaturgy by Patricia Hersch, and conceived and directed by PJ Paparelli, columbinus weaves together excerpts from discussions with parents, survivors and community leaders in Littleton as well as diaries and home video footage to bring to light the dark recesses of American adolescence. -Doollee.com

    Control over law and order has long since passed from the hands of the administration to caste-based gangs and organized crime syndicates enjoying political patronage. Kidnapping has become one of the flourishing businesses of the state, while every other industry has dwindled down and the development plank has gone on a pause mode, on account of Rangdari, which is yet another booming business apart from contract killing, smuggling, illegal tree cutting, and vehicle snatching. Migration to other states is at peak: not only of big businessmen, but also of lowly laborers. And those who can’t leave the state are either sucked into the crime world or are forced to live under fear. Albeit the local newspapers everyday sketch the sordid saga of the state, the execrable condition is not likely to improve by any means in the near future. Digambar Babu, a middle-aged man of a small town Motihari (the place of Mahatma Gandhi's Champaran Satyagrah), is dejected and dismayed for his family falling apart, and so sets himself on a mission to make amends for the mistakes he has done in the past. Shakuntala Devi, his wife, infuriated at herself for having devoted her whole life selflessly and arduously for her ungrateful family, wants to make up for the injustice she has done to herself, by living the rest of her life selfishly. Sarvesh, their asthmatic son, whose first marriage perished about a decade ago, is still struggling with both his career and his married life, and Nisha, their daughter, is married to someone whom she thinks she will never be able to love. The biggest threat to the already troubled family is Nisha’s ex-lover Kanhaiya Tiwari, who is the youngest corporator of the town, and has sworn to ruin the family. Shyam, Nisha’s husband, who is ‘the absorber of the emotions’, in keeping with his fluidity, writhes in pain but transforms time and again, in order to win his wife’s heart, while Savita, Sarvesh’s current wife, colludes with Kanhaiya Tiwari in his evil intent, in order to have all the strings of the family in her hands. Benighted in Sodom, they weave their web of Karma, and fabricate their fates, but the biggest sufferer in the ruthless game of dominance and survival are the innocent children of the family.The story tries to draw parallels between Digambar Babu’s disarrayed family and the disordered town. The novel is inspired from the real events happened in the town during 90’s era of jungle-raaj.

    The evening consisted of six Durang one act plays. It was directed by Walter Bobbie; set was by Derek McLane, costume by David C. Woolard, lighting by Brian Nason, sound design by Tony Meola; production stage manager was Perry Cline, stage manager was Greg Fletcher. Durang/Durang is an evening of six one acts. It is thus not a full length play, but it is a full evening.

    Its directionless New York City author arrives in town to defend the book and finds that it has inspired a group of local teens to rebel in strange and unexpected ways. A timely and unforgettable drama about the failure of urban and heartland America to understand each other, The Metal Children explores what happens when fiction becomes a matter of life and death.

    This 1960's French farce adapted for the English-speaking stage features self-styled Parisian lothario Bernard, who has Italian, German, and American fiancees, each beautiful airline hostesses with frequent "layovers." He keeps "one up, one down and one pending" until unexpected schedule changes bring all three to Paris and Bernard's apartment at the same time.

    Love in the Dark'One of the most exciting, new and absolutely original aspects of Carr's writing is the manner in which the sexism of the language and religious imagery is exposed... Marina Carr is a playwright to be watched.' Sunday TribuneThe Mai'The writing is at once gentle and raucous... capable of articulating deep-seated woes and resentments in a manner you rarely find outside Eugene O'Neill.' ObserverPortia Coughlan'A play of precocious maturity and accomplishment.' Irish Times'Portia Coughlan packs a hell of a punch. It hurts to look at it. But it has to be seen.' Irish IndependentBy the Bog of Cats...'A poetic realism steeped in the past... Carr has an extraordinary ability to move between the mythic and the real.' Guardian'A great play... a great work of poetry... the word should soon carry across both sides of the Atlantic.' Independent

    With Steffy, his sometime paramour, at his side, Herb decides to take another stab at fatherhood and hopefully this time, get it right.

    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.

    . .Then Titus is arrested and sent to prison for attending a Reform meeting. Jennet is left to fend for herself and things go from bad to worse as she finds herself pregnant and alone – with another man’s child . . .

    A celebrity artist shining bright at the crest of the Restoration Ned, or Mr. K as he's called, is applauded onstage and off for his interpretations of Shakespeare's tragic ladies: Ophelia, Cleopatra, especially his Desdemona and his famous "death scene". He s the toast of the town and the very secret "mistress" of the powerful Duke of Buckingham. But when an unknown named Margaret Hughes plays Desdemona one night at an illegal theater, instead of stopping the show, the ever-game King Charles II changes the law to allow women to act. By the stroke of a pen, Kynaston's world is turned upside-down. He loses his cachet, his livelihood, his lover and his sense of self. And as such women as the king's own courtesan Nell Gwynn, and Kynaston s former dresser Maria, become stars, his own light disappears until fate and his desire for revenge give him a chance to take the stage again.

    Her characters suffer and survive against the enormous weight of the times with a dignity that inspires. Her work challenges the audience and reader to reexamine the conflicts and meaning of our everyday lives through her singular, poetic imagery and language.Includes: One Flea SpareIn the Heart of AmericaSlaughter CityThe War BoysThe Trestle at Pope's Creek

    Amy is curled up on the locker room floor. DRY LAND is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.

    But when one of the guests is stabbed to death, the festivities in this isolated house of tricks and mirrors quickly turn dangerous. Then it's up to Gillette himself, as he assumes the persona of his beloved Holmes, to track down the killer before the next victim appears. The danger