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.

    An innocent-seeming birthday party for Stanley turns into a nightmare.The Birthday Party was first performed in 1958 and is now a modern classic. Produced and studied throughout the world.

    DramaFull Length2 men, 1 woman: 3 totalInteriorsTHE STORY: When a world-renowned origami artist opens her studio to a teenage prodigy and his school teacher, she discovers that life and love can t be arranged neatly in this drama about finding the perfect fold.

    Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship and abuse.

    She gives one of them away to wealthy Mrs Lyons and they grow up as friends in ignorance of their fraternity until the inevitable quarrel unleashes a blood-bath. 'Willy Russell is less concerned with political tub-thumping than with weaving a close-knit story about the working of fate and destiny … it carries one along with it in almost unreserved enjoyment" Guardian One of the longest-running and most successful ever West End musicals, Blood Brothers premiered at the Liverpool Playhouse in January 1983.

    As Williams's first popular success, it launched the brilliant, if somewhat controversial, career, of our pre-eminent lyric playwright. Since its premiere in Chicago in 1944, with the legendary Laurette Taylor in the role of Amanda, Menagaerie has been the bravura piece for great actresses from Jessica Tandy to Joanne Woodward, and is studied and performed in classrooms and theatres around the world. The Glass Menagerie (in the reading text the author preferred) is now available only in its New Directions Paperbook edition. A new introduction by the editor of The Tennessee Williams Annual Review, Robert Bray, reappraises the play more than half a century after it won the New York Drama Critics Circle Award. This edition of The Glass Menagerie also includes Williams's essay on the impact of sudden fame on a struggling writer, "The Catastrophe of Success," as well as a short section of Williams's own "Production Notes." (back cover)

    But while rumors run wild and everyone forms an opinion, Scarlett just stays silent.With roles for up to twenty-four young female actors (though it can also be performed by a smaller cast), the play is perfect for any schools, youth theatres or drama groups looking to tackle a contemporary subject in a theatrically exciting way.Specially commissioned by Birmingham Repertory Theatre, Theatre Royal Plymouth and West Yorkshire Playhouse, Girls Like That was developed through work with young people from the three theatres and first performed by their youth theatre companies in 2013."[Tackles] strong, relevant issues... a well-written, immaculately crafted and brave piece of energetic theatre." - A Younger Theatre"An urgent, powerful and haunting examination... I can see this play becoming a very popular resource for 16+ groups and that will be no bad thing." National Drama MagazineEvan Placey is a Canadian-British playwright. His other work includes Mother of Him, Holloway Jones, which won the Brian Way Award for Best Play for Young People, and Pronoun, commissioned as part of the 2014 National Theatre Connections Festival.

    An inspector calls to interrogate the family, and during the course of his questioning, all members of the group are implicated lightly or deeply in the girl's undoing. The family, closely knit and friendly at the beginning of the evening, is shown up as selfish, self-centered or cowardly, its good humor turning to acid, and good fellowship to dislike, before the evening is over. The surprising revelation, however, is in the inspector...

    This classic comedy opens as a group of the guys assembled for cards in the apartment of divorced Oscar Madison. And if the mess is any indication, it's no wonder that his wife left him. Late to arrive is Felix Unger who has just been separated from his wife. Fastidious, depressed and none too tense, Felix seems suicidal, but as the action unfolds Oscar becomes the one with murder on his mind when the clean-freak and the slob ultimately decide to room together with hilarious results as The Odd Couple is born. "His skill is not only great but constantly growing...There is scarcely a moment that is not hilarious." - The New York Times "Fresh, richly hilarious and remarkably original. Wildly, irresistibly, incredibly and continuously funny." - New York Daily News

    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."

    His visitor is Jasper Jones, an outcast in the regional mining town of Corrigan.Rebellious, mixed-race and solitary, Jasper is a distant figure of danger and intrigue for Charlie. So when Jasper begs for his help, Charlie eagerly steals into the night by his side, terribly afraid but desperate to impress. Jasper takes him to his secret glade in the bush, and it's here that Charlie bears witness to Jasper's horrible discovery.With his secret like a brick in his belly, Charlie is pushed and pulled by a town closing in on itself in fear and suspicion as he locks horns with his tempestuous mother; falls nervously in love and battles to keep a lid on his zealous best friend, Jeffrey Lu.And in vainly attempting to restore the parts that have been shaken loose, Charlie learns to discern the truth from the myth, and why white lies creep like a curse.In the simmering summer where everything changes, Charlie learns why the truth of things is so hard to know, and even harder to hold in his heart.

    With keen insight and a ceaseless attention to detail, The Flick pays tribute to the power of movies and paints a heartbreaking portrait of three characters and their working lives. A critical hit when it premiered Off-Broadway, this comedy, by one of the country's most produced and highly regarded young playwrights, was awarded the coveted 2013 Susan Smith Blackburn Prize, an Obie Award for Playwriting and the 2014 Pulitzer Prize for Drama.

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

    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.

    H. Lawrence. The story describes a young middle-class Englishwoman who "had no luck." Though outwardly successful, she is haunted by a sense of failure; her husband is a ne'er-do-well and her work as a commercial artist doesn't earn as much as she'd like. The family's lifestyle exceeds its income and unspoken anxiety about money permeates the household. Her children, a son Paul and his two sisters, sense this anxiety; moreover, the kids even claim they can hear the house whispering "There must be more money." Paul tells his Uncle Oscar Cresswell about betting on horse races with Bassett, the gardener. He's been placing bets using his pocket money and has won and saved three hundred twenty pounds. Sometimes he says he is "sure" of a winner for an upcoming race, and the horses he names do in fact win, sometimes at remarkable odds. Uncle Oscar and Bassett both place large bets on the horses Paul names. After further winning, Paul and Oscar arrange to give the mother a gift of five thousand pounds, but the gift only lets her spend more. Disappointed, Paul tries harder than ever to be "lucky." As the Derby approaches, Paul is determined to learn the winner. Concerned about his health, his mother rushes home from a party and discovers his secret. He has been spending hours riding his rocking horse, sometimes all night long, until he "gets there," into a clairvoyant state where he can be sure of the winner's name. Paul remains ill through the day of the Derby. Informed by Cresswell, Bassett has placed Paul's bet on Malabar, at fourteen to one. When he is informed by Bassett that he now has 80,000 pounds, Paul says to his mother: "I never told you, mother, that if I can ride my horse, and get there, then I'm absolutely sure - oh absolutely! Mother, did I ever tell you? I am lucky!" "No, you never did," said his mother. The boy dies in the night and his mother hears her brother say, "My God, Hester, you're eighty-odd thousand to the good, and a poor devil of a son to the bad. But, poor devil, poor devil, he's best gone out of a life where he rides his rocking horse to find a winner.