As the composer, lyricist, actors and director prepare their performance, and a blizzard cuts off any possible retreat, bodies start to drop in plain sight, knives spring out of nowhere, masked figures drag their victims behind swiveling bookcases, and accusing fingers point in all directions. However, and with no thanks to the bumbling police inspector who snowshoes in to investigate, the mystery is solved in the nick of time and the "Slasher" unmasked-but not before the audience has been treated to a sidesplitting good time and a generous serving of the author's biting, satiric and refreshingly irreverent wit.

    Siken writes with ferocity, and his reader hurtles unstoppably with him. His poetry is confessional, gay, savage, and charged with violent eroticism. In the world of American poetry, Siken's voice is striking. In her introduction to the book, competition judge Louise Glück hails the “cumulative, driving, apocalyptic power, [and] purgatorial recklessness” of Siken’s poems. She notes, “Books of this kind dream big. . . . They restore to poetry that sense of crucial moment and crucial utterance which may indeed be the great genius of the form.”

    Maria was young and innocent and had never known love—until Tony. And he, who had been seeking something beyond the savagery of the streets, discovered it with her. But Maria’s brother was leader of the Sharks and Tony had once led the rival Jets. Now both gangs were claiming the same turf. Tony promised Maria that he would stay out of it. Would he be able to keep his word? Or would their newfound love be destroyed by sudden death?

    Includes: Accident Waiting to Happen * Bride's Lament * Cold Feets * I Am Aldolpho * I Remember Love * Show Off * Toledo Surprise * and more.

    It premiered in April 2000 at the Gielgud Theatre, Shaftesbury Avenue, London, starring Kathleen Turner as Mrs RobinsonCalifornia in the 60s. Benjamin's got excellent grades, very proud parents and, since he helped Mrs Robinson with her zipper, a fine future behind him… A cult novel, a classic film, a quintessential hit of the 60s, now Benjamin's disastrous sexual odyssey is brought vividly to life in this world stage premiere production."Terry Johnson is that rare creature: a moralist with wit. He writes with responsible gaiety" (Guardian)

    One boy, one girl. One gay, one straight. One black, one white. And SUMMER DRAMA CAMP. It's a season of hormones, gold lame, hissy fits, jazz hands, song and dance, true love, and unitards that will determine their future--and test their friendship.

     Once the golden boy of the English literary scene, now a clinically depressed writer of pulp crime fiction, Ash Winters has given up on love, hope, happiness, and — most of all — himself. He lives his life between the cycles of his illness, haunted by the ghosts of other people’s expectations. Then a chance encounter at a stag party throws him into the arms of Essex boy Darian Taylor, an aspiring model who lives in a world of hair gel, fake tans, and fashion shows. By his own admission, Darian isn’t the crispest lettuce in the fridge, but he cooks a mean cottage pie and makes Ash laugh, reminding him of what it’s like to step beyond the boundaries of anxiety. But Ash has been living in his own shadow for so long that he can’t see past the glitter to the light. Can a man who doesn’t trust himself ever trust in happiness? And how can a man who doesn’t believe in happiness ever fight for his own?

    Ari can't. Dante is articulate and self-assured. Ari has a hard time with words and suffers from self-doubt. Dante gets lost in poetry and art. Ari gets lost in thoughts of his older brother who is in prison. Dante is fair skinned. Ari's features are much darker. It seems that a boy like Dante, with his open and unique perspective on life, would be the last person to break down the walls that Ari has built around himself.But against all odds, when Ari and Dante meet, they develop a special bond that will teach them the most important truths of their lives, and help define the people they want to be. But there are big hurdles in their way, and only by believing in each other―and the power of their friendship―can Ari and Dante emerge stronger on the other side.

    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.

    But when an email falls into the wrong hands, his secret is at risk of being thrust into the spotlight. Now Simon is actually being blackmailed: if he doesn’t play wingman for class clown Martin, his sexual identity will become everyone’s business. Worse, the privacy of Blue, the pen name of the boy he’s been emailing, will be compromised.With some messy dynamics emerging in his once tight-knit group of friends, and his email correspondence with Blue growing more flirtatious every day, Simon’s junior year has suddenly gotten all kinds of complicated. Now, change-averse Simon has to find a way to step out of his comfort zone before he’s pushed out—without alienating his friends, compromising himself, or fumbling a shot at happiness with the most confusing, adorable guy he’s never met.

    In the play, Martin—a hugely successful architect who has just turned fifty—leads an ostensibly ideal life with his loving wife and gay teenage son. But when he confides to his best friend that he is also in love with a goat (named Sylvia), he sets in motion events that will destroy his family and leave his life in tatters.The playwright himself describes it this way: “Every civilization sets quite arbitrary limits to its tolerances. The play is about a family that is deeply rocked by an unimaginable event and how they solve that problem. It is my hope that people will think afresh about whether or not all the values they hold are valid."

    Son's story is deceptively simple: two young women in New York meet, talk about their boyfriends, feel a growing, unspoken attraction for each other, and finally kiss. And that one innocent kiss sets off a savage gay-bashing. But even as Stop Kiss confronts the reality of physical violence, Son's imaginative, moving, and surprising comedy brings audiences -- and her principal characters -- to unexpected places.Callie is holding down a job as a radio traffic reporter when she meets Sara, a midwesterner who, against her parents' wishes, has moved to the city to teach third-grade students in the Bronx. Both have boyfriends, but as they get to know each other, their shared experiences and sense of humor create a strong bond. The tragic consequences of their kiss -- the center of this powerful drama -- serve as both an indictment of hatred and a moving study of the perils inherent in living life fully.

    The gaucheness, the rush of excitement, and the inarticulate tenderness of young love are beautifully captured in writing of great truth and delicacy. Only the most irrational of homophobes could fail to be moved by it."—Daily Telegraph"Deliciously upbeat ... seldom has there been a play which so exquisitely and joyously depicts what it's like to be sixteen, in the first flush of love and full of optimism. Truly a most unusual and beautiful thing."—Guardian"An unfakeably truthful portrait of adolescent self-discovery, showing sensitivity and fun pushing up like wild flowers through the concrete crevices of a Thamesmead estate. This is the most heartening working-class comedy since A Taste of Honey."—Independent on Sunday

    "A brave and breathtaking musical."--The New York Times

    In 1962, Williams retitled and expanded The Parade into a full-length play. Both versions of the play are set on the fishing wharves and in the sand dunes of Provincetown, Massachusetts, and tell the story of a young playwright named August dealing with his unrequited love for another man. It was produced posthumously in Provincetown in 2006.