Includes a new preface by Jewell Gresham Nemiroff and a revised introduction by Margaret B. Wilkerson.

    The portraits include Hellman's recollection of a lifelong friendship that began in childhood, reminiscences that formed the basis of the Academy Award-winning film Julia.

    Winner of the Antoinette Perry Award for Best Play of the Season, Anouilh's monumental work—introduced in this edition by the acclaimed writer and critic Andre Aciman—draws from historical events in the Norman conquest of England to paint a profound and enduring portrait of the saint and martyr.

    Recommended for all collections." - Choice

    But who was Figaro? He was quickly appropriated by Mozart and Rossini who tamed the original impertinent, bustling servant for their own purposes. On the eve of the French Revolution Figaro was seen as a threat to the establishment and Louis XIV even banned The Marriage of Figaro.Was the barber of Seville really a threat to aristocratic heads, or a bourgeois individualist like his creator? The three plays in which he plots and schemes chronicle the slide of the ancien r�gime into revolution but they also chart the growth of Beaumarchais' humanitarianism. They are exuberant theatrical entertainments, masterpieces of skill, invention, and social satire which helped shape the direction of French theater for a hundred years. This lively new translation catches all the zest and energy of the most famous valet in French literature.

    Let's take check: Finn Bar, slightly ruffled but still in fighting form. Maggie, could do with a full night's sleep but otherwise all in order... Stay here. Don't answer the door. I'll go out and get some proper food.In a new flat, three children play hide and seek. Eliot wears a crown, little Finn, King of the Wild Thing's, draws on the walls. Maggie climbs them. Hiding from the world, needing to be found, their one shared focus a mobile phone. Will it ring? Who will call? And what are they waiting for?Tusk Tusk is a tale of family loyalty as an uncertain future circles. Polly Stenham's second play premiered at the Royal Court Theatre, London, in March 2009.

    The playtext is reproduced here with footnotes which will be of no help to anyone and a letter from the authors to the Queen.