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

    With her Tony-award winning book and lyrics, Norman recreates the classic form of the traditional American musical.

    This volume presents a comprehensive critical study of Samuel Beckett's first and most renowned dramatic work. Lawrence Graver discusses the play's background and provides a detailed analysis of its originality and distinction as a landmark of modern theatrical art. He also reviews some of the differences between Beckett's original French version and his English translation.

    

    Joe sits at the nexus of Washington life: beloved, feared, and courted in equal measure by the very people whose careers and futures he determines. But as the sixties dawn and America undergoes dizzying change, the intense political dramas Joe has been throwing his weight around in—supporting the war in Vietnam and Soviet containment, criticizing student activism—come to bear a profound personal cost.Based on the real-life story of Joe Alsop, whose columns at the time of his 1974 retirement were running three times a week in more than three hundred newspapers, David Auburn’s The Columnist is a deft blend of history and storytelling. A hilarious, searing portrait of the glorious rewards and devastating losses that accompany ego, ambition, and the pursuit of power, The Columnist pens a vital letter from a radically changing decade to our own turbulent era.

    In Michael Meyer's fluent, idiomatic translations, The Wild Duck and Hedda Gabler stand as masterpieces of naturalist drama.

    

    blu, steeped in poetic realism and contemporary politics, challenges us to try to imagine a time before war.Selected as the winner of the 2010 Yale Drama competition from more than 950 submissions, Virginia Grise's play blu takes place in the present but looks back on the not too distant past through a series of prayers, rituals, and dreams. Contest judge David Hare commented, "Virginia Grise is a blazingly talented writer, and her play blu stays with you a long time after you've read it." Noting that 2010 was a banner year for women playwrights, he added, "Women's writing for the theatre is stronger and more eloquent than it has ever been."

    Blood Wedding tells the story of a couple drawn irresistibly together in the face of an arranged marriage; Doña Rosita the Spinster follows the appalling fate of a young woman beguiled into the expectation of marriage and left stranded for a lifetime whilst Yerma is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. Set in and around his home territory, Granada, the plays return again and again to the lives of passionate individuals, particularly women, trapped by the social conventions of narrow peasant communities. The plays appear here in new playable translations.

    Her plays have been produced in many theatres across the U.S. including Second Stage (NY), South Coast Rep (Costa Mesa), Yale Repertory Theatre (New Haven), Alliance Theatre (Atlanta) and Steppenwolf (Chicago). She has won the Heideman and the White Bird awards and was a runner-up for the Susan Blackburn award.

    What was life? What was love? What else could have been? Full of mordant, bitter humour, this is a passionate threnody from one of Ireland's leading playwrights.Woman and Scarecrow premieres at the Royal Court Theatre, London, in June 2006.

    Hold tight as the ordinary turns extraordinary in Mark O’Rowe’s exhilarating new play. A blackly comic vision of Dublin infested with demons, from the author of Howie the Rookie.

    We opened for business at 5 p.m. and already there was a queue of hungry customers on the cobbled street of London's East End. In 1950s and 60s Bermondsey, the fish-and-chip shop was at the centre of the community. And at the heart of the chippy itself was 'Hooray' Hilda Kemp, a spirited matriarch who dispensed fish suppers and an abundance of sympathy to a now-vanished world of East Enders. For 'Hooray' Hilda knew all to well what it was like to feel real, aching hunger. Growing up in the slums of 1920s south-east London, the daughter of a violent alcoholic who drank away his wages rather than put food on the table, she could spot when a customer was in need and would sneak them an extra big portion of chips, on the house. As Hilda works in the chippy six days a week - cutting the potatoes and frying the fish, yesterday's rag becoming today's dinner plate - she hears all the gossip from the close-knit community. There are rumours that the gang wars are hotting up: the Richardsons and the Krays are playing out their fights across south-east London. And the industrial strike is carrying on for a painfully long time for the mothers with many mouths to feed. At home, Hilda's children are latchkey kids, letting themselves in from school and helping themselves to whatever is in the larder until she gets in from her long, hard day at work. Despite tragedy striking her family, Hilda never complained of the loss of her daughter at a tragically young age, nor the tough upbringing she narrowly escaped. With a cast of colourful characters - dirty ragamuffins, struggling housewives, rough-diamond gang members - 'Hooray' Hilda's story is one of grit, romance, nostalgia and British endurance. Told to her granddaughter Cathryn, this memoir is the uplifting sequel to 'WE AIN'T GOT NO DRINK, PA' and is a testament to a woman who lived life to the full, who enjoyed laughter and loved fiercely - even though her heart was broken many times over.

    These “seven stories” lead to a charming and surprising ending.Cast of 2 women and 3 men.

    He takes up temporary residence in the unused space where thirty-five years earlier, his father Ned, and Ned's late partner Theo, both architects, lived and designed the great house that would make them famous. Sleepless and emotionally jangled, Walker scours the old empty space for clues, evidences or keys to the tortured family history. Discovering his father's journal hidden under the bed, he finds it as unforthcoming as his nearly silent father had been. Walker is joined by his sister, Nan, and their friend from childhood, Pip, Theo's son, to hear the reading of Ned's will. It is there that Walker forces the confrontation that the others need. After an evening of harrowing and sometimes comically inadvertent revelations, Walker disappears once more. This time he returns later that evening with a surprising, but to him, definitive solution to the family puzzle. We travel back to 1960, when Ned's journal begins. We meet the parents at the same age their children are in Act One: Ned, who seems very different from the cold monster the children conjured; the charismatic and putative genius, Theo; and Lena, Walker and Nan's mother, the delightful, troubled "Southern woman who admits to thirty." In the guise of a love story, we are offered all the information needed to devise an alternative reading of the sad, unexpectedly romantic family story."