Every actor can find a sitcom niche by identifying with one of these eight characters. Using past and current actors and sitcom personalities, Sedita describes in detail where these characters come from and how actors can play them truthfully. * who is normally cast as The Logical Smart One' * why do we love The Lovable Loser' * why is The Neurotic such a fun character to play' In addition, readers learn how to break down a comedy script, how to identify different types of jokes, how to deliver them with comedic precision, sitcom auditioning techniques, and how to market themselves.

    He is sent to Italy by a wealthy financier to try and coax home the rich man's son. In the process Ripley becomes both attracted and seduced, finding the murder the only way to deal with the situation. From that point Ripley tries to cover up his crime. Patricia Highsmith's beguiling tale of morality and amorality is given a dramatic rendering by contemporary dramatist Phyllis Nagy, who knew Highsmith in her later years in Paris."Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)

    Includes background on the author's life and times, sample tests, term paper suggestions, and a reading list.

    Hunter's A Bright New Boise is a earnest comedy about the meager profits of modern faith. In the bleak, corporate break room of a craft store in Idaho, someone is summoning The Rapture. Will, who has fled his rural hometown after a scandal at his Evangelical church, comes to the Hobby Lobby, not only f

    But when a domestic disturbance call takes a turn for the worse, their friendship is put on the line. The result is a difficult journey into a moral gray area where trust and loyalty struggle for survival against a sobering backdrop of pimps, prostitutes, and criminal lowlifes.A dark duologue filled with sharp storytelling and biting repartee, A Steady Rain explores the complexities of a lifelong bond tainted by domestic affairs, violence, and the rough streets of Chicago.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times

    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.

    Among them: Suheir Hammad, Beau Sia, Steve Colman, Stacyann Chin, Mayda del Valle, Georgia Me, Poetri, and other well-established and up-and-coming Slam artists who have forever changed the face of poetry and offer a fresh, exuberant, insightful, and comedic look at who we are as Americans today.

    With the help of David Tushingham, he has adapted Salman Rushdie's classic children's novel, Haroun and the Sea of Stories for the stage. Set in an exotic eastern landscape peopled by magicians and fantastic talking animals, Rushdie's novel inhabits the same imaginative space as Gulliver's Travels, Alice in Wonderland and The Wizard of Oz. Haroun sets out on an adventure to restore the poisoned source of the sea of stories. On the way he encounters many foes, intent on draining the sea of all its storytelling powers.

    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

    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.

    

    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

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

    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.