Almost one hundred years later, a groom-to-be prepares for his gay wedding.Queers celebrates a century of evolving social attitudes and political milestones in British gay history, as seen through the eyes of eight individuals.Poignant and personal, funny, tragic and riotous, these eight monologues for male and female performers cover major events - such as the Wolfenden Report of 1957, the HIV/AIDS crisis, and the debate over the age of consent - through deeply affecting and personal rites-of-passage stories.Curated by Mark Gatiss, the monologues were commissioned to mark the anniversary of the 1967 Sexual Offences Act, which decriminalised homosexual acts in private between two men over the age of twenty-one. They were broadcast on BBC Four in 2017, directed and produced by Gatiss, and starring Alan Cumming, Rebecca Front, Ian Gelder, Kadiff Kirwan, Russell Tovey, Gemma Whelan, Ben Whishaw and Fionn Whitehead. They were staged at The Old Vic in London.This volume includes:The Man on the Platform by Mark GatissThe Perfect Gentleman by Jackie CluneSafest Spot in Town by Keith JarrettMissing Alice by Jon BradfieldI Miss the War by Matthew BaldwinMore Anger by Brian FillisA Grand Day Out by Michael DennisSomething Borrowed by Gareth McLean

    But at the moment, she's living in New York City and writing advertising jingles to pay the rent while her fiancé, Jack, pursues his singing career. So when Amanda's mother, Kim, calls one evening from New Hampshire and asks for her help with something she can't discuss over the phone, Amanda is only too happy to leave New York. Once home, Kim reveals that she's leaving Amanda's father and needs help packing. Amanda balks and ends up (gently) hitting the postman, who happens to be her first boyfriend. They spend the night together in an apple orchard, where Amanda tries to tell Billy how her life got sidetracked. It has something to do with being a young woman in a profession that only recognizes famous men. Billy acts like he might have the answer, but doesn't. Neither does Amanda's mother. Or, for that matter, her father. A Feminine Ending is a gentle, bittersweet comedy about a girl who knows what she wants but not quite how to get it. Her parents are getting divorced, her fiancée is almost famous, her first love reappears, and there's a lot of noise in her head but none of it is music. Until the end. "Ending′ is a promising beginning...the playwright has a sense of humor that brings to mind a budding Wendy Wasserstein and a liberated sense of form that evokes a junior Paula Vogel."-Los Angeles Times "Darkly comic. FEMININE ENDING has undeniable wit." -New York Post. "Appealingly outlandish humor." -The New York Times. "Courageous. The 90-minute piece swerves with nerve and naivete. Sarah Treem has a voice all her own." -Newsday.

    Williams through the most sympathetic voice among his characters, 'is a true story about the time and the world we live in.' He has made it seem true-or at least curiously and suspensefully possible-by the extraordinary skill with which he has wrung detail after detail out of a young woman who has lived with horror. Anne Meacham, as a girl who has been the sole witness to her cousin's unbelievably shocking death, is brought into a 'planned jungle' of a New Orleans garden to confront a family that is intensely interested in having her deny the lurid tale she has told. The post-dilettante's mother is, indeed, so ruthlessly eager to suppress the facts that she had the girl incarcerated in a mental institution and she is perfectly willing, once she finishes her ritualistic five o'clock frozen daiquiri, to order the performance of a frontal lobotomy. A nun stands in rigid attendance; a doctor prepares a hypodermic to force the truth; greedy relatives beg her to recant in return for solid cash. Under the assorted, and thoroughly fascinating, pressures that are brought to bear, and under the intolerable, stammering strain of reliving her own memories, Miss Meacham slowly, painfully, hypnotically paints a concrete and blistering portrait of loneliness.of the sudden snapping of that spider's web that is one man's life, of ultimate panic and futile flight. The very reluctance with which the grim, hopeless narrative is unfolded binds us to it; Mr. Williams threads it out with a spare, sure, sharply vivid control of language.and the spell is cast."

    For each, the chaos of what has come before brings with it a painful legacy.“I have Stayed. I have Stayed – I have Stayed for as long as I possibly can.”

    Prior is a man living with AIDS whose lover Louis has left him and become involved with Joe, an ex-Mormon and political conservative whose wife, Harper, is slowly having a nervous breakdown. These stories are contrasted with that of Roy Cohn (a fictional re-creation of the infamous American conservative ideologue who died of AIDS in 1986) and his attempts to remain in the closet while trying to find some sort of personal salvation in his beliefs.

    But when the young members of the Christian Puppet Ministry put those teachings into practice, one devout young man's puppet takes on a shocking personality that no one could have expected. In this hilarious black comedy, a foul-mouthed sock puppet named Tyrone soon teaches those around him that the urges that can drive a person to give in to their darkest desires fit like a glove. In Hand to God, a "true tour de force" (New York Times), Robert Askins has written a play of "unerring perfection" (Huffington Post). The must-see hit of the 2015 Broadway season, starring Steven Boyer and Geneva Carr, garnered an Obie Award and five Tony Award nominations, including Best Play, following its sold out, critically acclaimed off-Broadway runs at MCC Theater and Ensemble Studio Theatre.

    The game setting? A subdivision with identical houses. The goal? Smash through an army of zombies to escape the neighborhood for good. But as the line blurs between virtual and reality, both parents and players realize that fear has a life of its own. "Playing like a nifty episode of 'The Twilight Zone', the story builds to an affectingly grues

    This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    a visionary work that bridges the history and culture of two worlds."--Frank Rich, New York TimesBased on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.TEXT OF THE BROADWAY REVIVAL

    Searching Manchester in desperation, she finds all roads lead to Pomona - an abandoned concrete island at the heart of the city.Here at the centre of everything, journeys end and nightmares are born.A sinister and surreal thriller from Alistair McDowall, Pomona received its world premiere at the Orange Tree Theatre, London, on 12 November 2014.

    Book by McLure, James

    Snatches of calypso compete with hymn tunes, drums and street cries as neighbours drink, brawl, pass judgment, make love, look out for each other and crave a better life. But Ephraim is no dreamer and nothing, not even the seductive Rosa, is going to stop him escaping his dead-end job for a fresh start in England.Set as returning troops from the Second World War fill the town with their raucous celebrations, Erroll John's Moon on a Rainbow Shawl depicts a vibrant, cosmopolitan world that is as harsh as it is filled with colour and warmth.

    Fluidly incorporating film and video elements into her writing for the first time, Nottage's comedy tells the story of Vera Stark, a headstrong African American maid and budding actress who has a tangled relationship with her boss, a white Hollywood star desperately grasping to hold onto her career. Stirring audiences out of complacency by tackling racial stereotyping in the entertainment industry—a topic that remains largely unexplored in mainstream arts and entertainment—Nottage highlights the paradox of black actors in 1930s Hollywood while jumping back and forward in time and location in this uniquely theatrical narrative.Lynn Nottage's plays include the Pulitzer Prize–winning Ruined; Intimate Apparel, the most widely produced play of the 2005–06 theater season in America; Fabulation, or the Re-Education of Undine; Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por'knockers; and POOF!

    When the patriarch of the Weston clan disappears one hot summer night, the family reunites at the Oklahoma homestead, where long-held secrets are unflinchingly and uproariously revealed. The three-act, three-and-a-half-hour mammoth of a play combines epic tragedy with black comedy, dramatizing three generations of unfulfilled dreams and leaving not one of its thirteen characters unscathed.

    Now he returns to the stage with Lobby Hero, which has been praised as "smart, funny ... [a] drama that derives its strength from Lonergan's keen ear for dialogue. One powerful tale" (New York Daily News). Lobby Hero, nominated for the Outer Critics Circle Award for Outstanding Off-Broadway Play, tells the story of Jeff, a luckless young security guard trying to get his life together after being thrown out of the navy. But the lobby proves to be no sanctuary from the world, as Jeff is drawn into a local murder investigation involving his supervisor, a tightly wound young man called upon to bear witness against his troubled brother, and an overzealous rookie policewoman who is in over her head with her unscrupulous hero-cop partner. As Ben Brantley of The New York Times wrote, "motives come in every shade but black and white" in Lobby Hero, creating a "combustible brew of impulses."