He sets this story in the romantic world of the Mediterranean, moving the action from Venice to the island of Cyprus and giving it an even more exotic coloring with stories of Othello's African past. Shakespeare builds so many differences into his hero and heroine—differences of race, of age, of cultural background—that one should not, perhaps, be surprised that the marriage ends disastrously. But most people who see or read the play feel that the love that the play presents between Othello and Desdemona is so strong that it would have overcome all these differences were it not for the words and actions of Othello's standard-bearer, Iago, who hates Othello and sets out to destroy him by destroying his love for Desdemona. As Othello succumbs to Iago's insinuations that Desdemona is unfaithful, fascination—which dominates the early acts of the play—turns to horror, especially for the audience. We are confronted by spectacles of a generous and trusting Othello in the grip of Iago's schemes; of an innocent Desdemona, who has given herself up entirely to her love for Othello only to be subjected to his horrifying verbal and physical assaults, the outcome of Othello's mistaken convictions about her faithlessness.

    Mila at first finds the dramatic vistas overwhelming. Gradually, however, she adjusts to the unfamiliar and frightening landscape as well as to the harsh, wintry life of the ancient complex where she and Matias serve as caretakers. But each falls under the spell of a different local and a different way of life. The twin seductions of husband and wife lead to inevitable and dire consequences.

    Meet Edward Carr: loving father, successful businessman, grieving widower. In this concise powerhouse of a play, LaBute limns the boundaries of love, exploring the limits of what society will accept versus what the heart will desire. This collection also features rarely staged short plays, including "Liars' Club," "Coax," and the never-before-seen "Falling in Like."

    The story famously recounts how the faded and promiscuous Blanche DuBois is pushed over the edge by her sexy and brutal brother-in-law, Stanley Kowalski. Streetcar launched the careers of Marlon Brando, Jessica Tandy, Kim Hunter, and Karl Malden, and solidified the position of Tennessee Williams as one of the most important young playwrights of his generation, as well as that of Elia Kazan as the greatest American stage director of the ’40s and ’50s.

    Focusing on the mysteries--romantic, scientific, literary--that engage the minds and hearts of characters whose passions and lives intersect across scientific planes and centuries, it is "Stoppard's richest, most ravishing comedy to date, a play of wit, intellect, language, brio and... emotion. It's like a dream of levitation: you're instantaneously aloft, soaring, banking, doing loop-the-loops and then, when you think you're about to plummet to earth, swooping to a gentle touchdown of not easily described sweetness and sorrow... Exhilarating" (Vincent Canby, The New York Times).

    In a woods, a field and a barn, they play, fight, fantasize and swagger. Their aggressions, fears, hostilities and rivalries are a microcosm of adult interaction. Easy going Willie tags along as burly Peter bullies Raymond and is challenged by fair minded Paul. Plain Audrey is overshadowed by Angela's prettiness and wreaks her anger on the boys. All of them gang up on the terrified "Donald Duck" who, abused by his mother and ridiculed by his peers, plays a dangerous game of pyromania with tragic results.

    He's a movie star's son, and hey, he's gorgeous to boot. Jordan has always wanted to get out from the shadow cast by his superstar father, but now that he and his mother have moved so far away from LA, how can he get his divorced parents back together? Jessica convinces Jordan the way to get his father to come for a long visit is to be a part of the school play. And if she's "discovered" in the process, all the better. Things go wrong when she lets Jordan's secret identity slip, and grow even more disastrous when the principal tries to change West Side Story into a gangfree, violence-free, politically correct production.In the same romantic and sharply witty spirit of Life, Love, and the Pursuit of Free Throws, Janette Rallison delivers another comic gem that teen readers are sure to love.

    This phenomenon in effect brought the terror, the panic, the horror and the sense of helplessness of the Great War home with the returning soldiers—more people died of this epidemic than had been killed in battle throughout the armed conflict.As fear of the dreaded flu begins to fill the town of Unity with paranoia, drastic measures are taken. The town is quarantined in an attempt to keep the illness out. Trains are forbidden to stop, no one can enter, and the borders are sealed. Mail from overseas, feared to be carrying the deadly virus, is gathered and then burned. But when the disease descends upon the town despite their precautions, the citizens begin to turn on each other as they attempt to find a scapegoat for the crisis.Very little has been written about this worldwide calamity which, more than the war itself, destroyed forever the genteel and naive presumptions of European colonial society at the beginning of the twentieth century. Kevin Kerr offers audiences not only an epic chronicle of this forgotten chapter of Canadian history, but a chilling preview of the beginnings of our own new century.The play is a gothic romance, filled with dark comedy and the desperate embrace of life at the edge of death.

    Evan is shy, lonely, and bullied for it―teeming with the irrepressible emotions all too familiar with anyone who's ever been a teenager. After a tragedy strikes, Evan's life suddenly gets turned around, but is it ultimately for the better?

    A peasant boy, Balbino, tries to flee the repressive Galician society of the 30s and 40s by questioning, answering, and criticizing every aspect of social and religious restrictions.

    I’d say I’m a fairly normal student, save for the fact that everyone avoids me like the plague because I apparently look like I’m out for blood. Ike Haruma is the only one that doesn’t steer clear of me. He’s your typical ‘perfect guy’ in every sense; the protagonist with no real flaws that you see in any given story.Life at school was going on as usual… until one day Haruma’s super popular little sister confesses to me out of the blue?! Though she later clarifies that her feelings toward me are anything but romantic and that she has an ulterior motive, I end up accepting my new role as ‘fake boyfriend’ as a favor to Haruma.Believe it or not, the moment I start going out with her, Haruma’s idol-tier childhood friend and my super hot teacher get involved with me too!Wait a minute, this can’t be a dream rom-com scenario setting itself up for me, can it?! I mean, there’s no way a side character like me could be popular, right?

    This new volume collects the author’s plays written in the past five years, including References to Salvador Dalí Make Me Hot ("effortlessly melds otherworldly fantasy with gritty realism to make sparks fly onstage."—The Journal News), Sueño (a reworking for Pedro Calderón’s Life is a Dream) and Sonnets for an Old Century, the author’s most recent work, which recently premiered in Los Angeles.Puerto Rican-born playwright José Rivera plays have been produced all over the world and his work has been translated into seven languages. His best known work includes Marisol and Each Day Dies with Sleep. "Rivera has a messianic mission to replace old and dying creeds with vibrant new visions."—Robert Brustein, New RepublicAlso available by José RiveraMarisol and Other Plays PB $15.95 1-55936-136-0 • USA

    Infinite possibilities. 'Let's go for a drink. I don't know what I'm doing here anyway. One drink. And if you never want to see me again you never have to see me again'. Nick Payne's "Constellations" is a play about free will and friendship; it's about quantum multiverse theory, love and honey. "Constellations" premiered at the Theatre Upstairs at the Royal Court Theatre, London, in January 2012.

    Escaping into her research, Constance decodes the Gustav Manuscript, and discovers a pair of comedies that she believes are the source for Shakespeare's Othello and Romeo and Juliet. Transported into the world of her theory, she comes face-to-face with Desdemona and Juliet and discovers that, far from shrinking violets, they are hellions full of surprises. What follows is a riotous retelling of theatrical legend that brings Constance out of her gloom and straight into a new and confident self.

    All of them are in one way or another frustrated and unhappy. Most of them are under the illusion that some day the things from which they suffer will be removed and they will be once more at peace. But when they come to see themselves, they realize that man is the sum of his past life, that they are incapable of any real revolt against their past, and that what they have made of themselves in earlier years is what they are when age approaches. Nor are they tragic figures. All of them are troubled average people, human, commonplace but they are studied with great understanding and a touch of intelligently unsentimental compassion."