Banks learns that one of the young men he has seen occasionally about the house is about to become his son-in-law. Daughter Kay announces the engagement out of nowhere. Mrs. Banks and her sons are happy, but Mr. Banks is in a dither. The groom-to-be, Buckley Dunstan, appears on the scene and Mr. Banks realizes that the engagement is serious. Buckley and Kay don't want a "big" wedding just a simple affair with a few friends! We soon learn, however, that the "few" friends idea is out. Then trouble really begins. The guest list grows larger each day, a caterer is called in, florists, furniture movers and dressmakers take over, and the Banks household is soon caught in turmoil.

    A farce with a hilarious drunk scene for two stylish comediennes.

    "Its a ghost story, a thriller, an action-packed murder mystery, and a great tragedy that is profoundly moving." With an outstanding cast of international actors--including Derek Jacobi as Claudius, Julie Christie as Gertrude, Kate Winslet as Ophelia, Charlton Heston as the Player King, Robin Williams as Osric, and Gerard Depardieu as Reynaldo--Branagh's version, in which he will play the title role as well as direct, is sure to go down in film history.This beautiful volume includes Branagh's introduction and screenplay adaptation of Shakespeare's text, color and black-and-white stills, and a production diary that takes us behind the scenes for a day-to-day look at the shooting of his film.

    The Good Woman of Setzuan, written during Brecht's exile and set in Communist China, is a parable of a young woman torn between obligation and reality, between love and practicality, and between her own needs and those of her friends and neighbors.Adhering closely to the original German text, this is a performance-friendly translation of one of Brecht's most popular plays.

    They are immediately attracted. Despite knowing this may be the only time they will see each other, in the next few hours in the city of Vienna, they share everything and promise to meet again.    Nearly a decade later, Jesse, now a novelist on a publicity tour, sees Celine in a bookstore in Paris. Again their time is short, and they spend it reestablishing the connection they experienced on their first meeting. Romantic, poignant, understated, and often profound, these two screenplays are sure to become classics in their own right.

    The popular image of the men who made the bomb is of dispassionate intellects who number-crunched their way towards a weapon whose devastating power they could not even imagine. But in his Tony Award-winning play Copenhagen, Michael Frayn shows us that these men were passionate, philosophical, and all too human, even though one of the three historical figures in his drama, Werner Heisenberg, was the head of the Nazis' effort to develop a nuclear weapon. The play's other two characters, the Danish physicist Niels Bohr and his wife, Margrethe, are involved with Heisenberg in an after-death analysis of an actual meeting that has long puzzled historians. In 1941, the German scientist visited Bohr, his old mentor and long-time friend, in Copenhagen. After a brief discussion in the Bohrs' home, the two men went for a short walk. What they discussed on that walk, and its implications for both scientists, have long been a mystery, even though both scientists gave (conflicting) accounts in later years. Frayn's cunning conceit is to use the scientific underpinnings of atomic physics, from Schr?dinger's famous cat to the Heisenberg uncertainty principle, to explore how an individual's point of view renders attempts to discover the ultimate truth of any human interaction fundamentally impossible. To Margrethe, Heisenberg was always an untrustworthy student, eager to steal from her husband's knowledge. To Bohr, Heisenberg was a brilliant if irresponsible foster son, whose lack of moral compass was part of his genius. As for Heisenberg, the man who could have built the bomb but somehow failed to, his dilemma is at the heart of the play's conflict. Frayn's clever dramatic structure, which returns repeatedly to particular scenes from different points of view, allows several possible theories as to what his motives could have been. This isn't the first play to successfully merge the world

    The classic play about Sir Thomas More, the Lord chancellor who refused to compromise and was executed by Henry VIII.

    What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, “The play is not about doctors or even about cancer. It’s about kindness, but it shows arrogance. It’s about compassion, but it shows insensitivity.” In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?The immediacy of the presentation, and the clarity and elegance of Edson’s writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.

    Gale has fashioned a spare but powerful tale that thrusts the indignities of slavery and the stupidity of racism out of the murky 18th century and into the here and now.—Martin Morrow, Calgary Herald

    It is the place he feels has given him his life, but is also the site of his undoing as events spiral out of his control. Found wandering naked in Central Park, he begins to tell his story to the police, but his memories collide into one another, and the true nature of things, a narrative of love, of marriage, of family and of a tragedy Arthur does not know how to address emerges.Luminous and atmospheric, bringing to life the tight-knit enclave of a quintessential New England boarding school, the novel is part mystery, part love story and an exploration of the ties of place and family. Beautifully written and compulsively readable, The Headmaster’s Wife stands as a moving elegy to the power of love as an antidote to grief.

    The literature is chronologically arranged by genre and supported by informative and concise editorial matter, including a complete guide to writing about literature at the back of the book. This volume in Bedford/St. Martin’s popular series of Portable Anthologies and Guides offers the series’ trademark combination of high quality and great value.

    The dialogue crackles with hilarious, caustic putdowns as the indomitable Maggie deals with her feckless family and unwanted suitors. Everyone wants a part of Big Maggie and her property but she has other ideas.

    He’s the toughest private eye in Los Angeles, and he’ll handle anything – if you’re human. If you’re a Toon, that’s another story.Eddie doesn’t like Toons – those cartoon characters who live side-by-side with humans. Not the way they look, and especially not the way they talk: word-filled balloons come out of their mouths and then disintegrate, leaving dust all over his rug.Eddie will work for a Toon if his cash supply is low enough. So he reluctantly agrees when Roger Rabbit, a Toon who plays straight man (or should that be straight rabbit) in the Baby Herman cartoon series, asks him to find out who’s been trying – unsuccessfully – to buy his contract from the DeGreasy Brothers syndicate.Then Rocco DeGreasy is murdered – and Roger is the prime suspect! The rabbit is also, as Eddie soon discovers, very, very dead.Who censored Roger Rabbit? And who shot Rocco DeGreasy? Was it Roger, or was it Rocco’s hot-cha-cha girlfriend, Jessica Rabbit? Why had Jessica – a pretty steamy number for a Toon – ever married a dopey bunny in the first place? And why does everybody want Roger’s battered old teakettle?As Eddie combs L.A. from the executive suites of the DeGreasy Brothers to Sid Sleaze’s porno comic studio, he uncovers art thefts, blackmail plots... and the cagiest killer he’s ever faced.In Who Censored Roger Rabbit?, author Gary K. Wolf has created a wonderfully skewed – and totally believable – world compounded of equal parts Raymond Chandler, Lewis Carroll, and Warner Brothers. This riotously surreal spoof of the hard-boiled detective novel is packed with action and laughs. From first page to last, Who Censored Roger Rabbit? is shear delight.Celebrated author Gary K. Wolf’s cult classic and highly praised novel Who Censored Roger Rabbit? is the basis for the blockbuster Walt Disney/Steven Spielberg Academy Award winning film Who Framed Roger Rabbit.

    A searing portrayal of the Mafia underworld, The Godfather introduced readers to the first family of American crime fiction, the Corleones, and their powerful legacy of tradition, blood, and honor. The seduction of power, the pitfalls of greed, and the allegiance to family—these are the themes that have resonated with millions of readers around the world and made The Godfather the definitive novel of the violent subculture that, steeped in intrigue and controversy, remains indelibly etched in our collective consciousness.~penguin.com

    In this sly critique of contemporary relationships, Reza skillfully picks apart the friendship of three men via a bowl of olives and a white-on-white painting. Now translated into more than 30 languages, Art continues to be performed worldwide, even as Reza's other plays have garnered similar acclaim. Life x 3, Reza's most recent offering, again highlights her satirical wit as two couples face off in three different versions of the dinner from hell. Praised as "compact, cool and clever" by Christopher Isherwood of Variety, Reza uses the acidic exchanges of her characters to illuminate their inner desire for love and acceptance. Also included in this edition are two earlier plays, The Unexpected Man and Conversations After a Burial. Each elucidates the startling difference between public and private life, be it in the confines of a train compartment or a country estate in the aftermath of a loved one's passing.