Cassandra's parents job takes them away from their two children. Cassie's father gets a call for him and his wife to take a trip to Australia, thousands of miles away from their children. They accept the offer but know they can't leave their seventeen and eight year old home alone for a week so they call a sitter.Little did they know they hired a dangerous psychopath killer... Will Cassandra and Ben escape the harmful hands of their psychotic sitter? Or has he already set his eyes on the young and pure Cassandra...

    Robert, her cellist husband, has always felt stifled by The Mai's ideals of perfection. After seventeen years he leaves her, whereupon she sets about building a dream house in the hope that he will one day return to her. From her fairytale castle, The Mai waits by the window for her dark-haired prince to return. Set in the inspiring surrounds of the West of Ireland, on the banks of the legendary Owl Lake, we enter this world on the day of Robert's return after an absence of four years. In the midst of Mai's and Robert's troubled reunion are the idiosyncratic characters that comprise the family. Irreverent and unapologetic, the opium-smoking one-hundred-year-old matriarch, Grandma Fraochlan, presides over all. The "Spanish Beauty," as she is known, with her "ancient and fantastical memory" and mythical presence, reminds us that the past is looming ever present. Her daughters, Agnes and Julie, meddle in the affairs of their three nieces, with comical tenacity. Deeply theatrical and profoundly intense, THE MAI is an epic tale of love and loss, of elusive dreams shattered by vulgar but inescapable reality.

    They sailed far out to sea. The blue one returned to the harbor. The red one sailed home too. But the yellow boat sailed up to the sun." Benjamin always concluded his bedtime ritual by saying, "Mom, you can be the red boat or the blue boat, but I am the yellow boat." This remarkable voyage of Benjamin was extensively developed and widely produced in America for several years, always to ovations. Cast of 4 men and 3 women.THE YELLOW BOAT is based on the true story of David and Sonja Saar's son, Benjamin, who was born with congenital hemophilia, and died in 1987 at the age of 8 of AIDS related complications. A uniquely gifted visual artist, Benjamin's buoyant imagination transformed his physical and emotional pain into a blaze of colors and shapes in his fanciful drawings and paintings. The story of THE YELLOW BOAT Is a glorious affirmation of a child's life, and the strength and courage of all children. Recommended for children of age 8 and older, parents, families and adults.

    There are boilers to be fixed, cats to be fed, and the perfect funeral to be planned. As a mother researches burial spots and biodegradable coffins, her family is finally forced to communicate with her and each other as they face up to the future. A dark comedy about death and life going on.

    Eisenberg will star in the New York production of The Spoils in the Spring of 2015, directed by Scott Elliott for the New Group’s inaugural season at the Pershing Square Signature Center.Nobody likes Ben. Ben doesn't even like Ben. He’s been kicked out of grad school, lives off his parents’ money, and bullies everyone in his life, including his roommate, an earnest Nepalese immigrant. When Ben discovers that his grade school crush is marrying a straight-laced banker, he sets out to destroy their relationship and win her back. The Spoils is a deeply personal and probing comedy written by one of America’s most interesting writer-thespians.

    And there is Oshoosi, fresh out of prison, who always takes the wrong track. When his ex-cell mate Elegba gives him a clapped-out car, true freedom seems just around the corner... The Brothers Size is the European debut of an amazing young writer who plants Nigerian myth in the fertile soil of Louisiana. The play premiered at Drum, Plymouth, in October 2007, before touring and transferring to the Young Vic, London.

    

    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.

    It is time to rewrite the stories. We are no longer the hero’s love interest. Neither do we believe in happily ever after. We do not wish to dance to anybody else’s tunes. We choose our path. We make mistakes. We learn from them. We love. We lose. We age. We evolve. These are stories of women. Different women. For we cannot and should not stereotype women. These stories are of relationships. These stories touch upon social issues. These stories may inspire you. These stories make you feel like you are not alone. These stories may surprise you. These stories may entertain you. I hope everybody would be able to pick something they like.

    Many have large casts and an equal mix of boy and girl parts. Set in the Malayan jungle in 1942, this play explores what happens when soldiers have to confront the reality of war.

    Based on historical people and real events, Miller's drama is a searing portrait of a community engulfed by hysteria. In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town's most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence. Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy's "witch-hunts" in the United States. Within the text itself, Miller contemplates the parallels, writing "Political opposition...is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence." The Viking Critical Library edition of Arthur Miller's dramatic recreation of the Salem witch trials contains the complete text of The Crucible as well as extensive critical and contextual material about the play and the playwright, including:Selections from Miller's writings on his most frequently performed playEssays on the historical background of The Crucible, including personal narratives by participants in the trials and records of witchcraft in Salem from the original documentsReviews of The Crucible, in production by Brooks Atkinson, Walter Kerr, Eric Bentley, and othersExcerpts from Jean-Paul Sartre's Les Sorcières de Salem, a "spin-off" of Miller's play, and three analogous works by Twain, Shaw, and Budd SchulbergCritical essays on the play, on Miller, and on the play in the context of Miller's oeuvreAn introduction by the editor, a chronology, a list of topics for discussion and papers prepared by Malcolm Cowley, and a bibliography

    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.

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

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.

    It won the 1995 Evening Standard Award for Best Comedy and, the Writers' Guild for Best West End Play."An exceptionally accomplished first play . . . though I know nothing about poker, I testify to the compulsive grip this play exerts and to the accumulation of meanings it ignites in your head."—Financial Times"Patrick Marber's enthralling close-up of the demons which drive compulsive gamblers is among the finest new plays in many a year."—Daily Mail