Mary is growing tired of her role as dutiful middle sister in the face of her siblings’ romantic escapades. When the family gathers for Christmas at Pemberley, an unexpected guest sparks Mary’s hopes for independence, an intellectual match, and possibly even love. 3M, 5W

    In the conflict that follows, it is Ruth who becomes the focus of the family's struggle for supremacy.

    First published by Yale University Press in 1956, it won the Pulitzer Prize in 1957 and has since sold more than one million copies. This edition includes a new foreword by Harold Bloom.The action covers a fateful, heart-rending day from around 8:30 am to midnight, in August 1912 at the seaside Connecticut home of the Tyrones - the semi-autobiographical representations of O'Neill himself, his older brother, and their parents at their home, Monte Cristo Cottage.One theme of the play is addiction and the resulting dysfunction of the family. All three males are alcoholics and Mary is addicted to morphine. They all constantly conceal, blame, resent, regret, accuse and deny in an escalating cycle of conflict with occasional desperate and half-sincere attempts at affection, encouragement and consolation.

    Jody is in his forties and runs a map store. Not one for the outside world, he stays in his store all the time. His friend, Carl is in his late thirties and has been bringing chairs of dead friends into Jody's store and leaving them there. When Jody needs to take an AIDS test, Carl tries to convince him it is not only okay to leave the store, but also that he must take responsibility for his life. If he doesn't, he will join the set of chairs that Carl has taken great pains to place in the right spots around the store. Jody finally leaves the map store to take his HIV test and return to find Carl sitting in a chair of his own. With this gesture, we know that Carl has joined the many of their friends who have died, but now Jody must take Carl's place as the caretaker.

    "An unflaggingly witty and often moving slice of life . . . Poor Super Man explodes on to the stage like a bold comic strip, complete with snappy captions and hard, bright, witty dialogue," writes the Edmonton Journal.

    She meets the women of Lockerbie, who are fighting the U.S. government to obtain the clothing of the victims found in the plane s wreckage. The women, determined to convert an act of hatred into an act of love, want to wash the clothes of the dead and return them to the victim s families. THE WOMEN OF LOCKERBIE is loosely inspired by a true story, although the characters and situations in the play are purely fictional. Written in the structure of a Greek tragedy, it is a poetic drama about the triumph of love over hate. Winner of the silver medal in the Onassis International Playwriting Competition and the Kennedy Center Fund for New American Plays award.

    Her first step is to admit that she has a problem. But the problem isn't with Emma, it's with everything else. She needs to tell the truth, but she's smart enough to know that there's no such thing. When intoxication feels like the only way to survive the modern world, how can she ever sober up?

    . . Dying City is a political play and also a psychodrama about what Arthur Miller called the politics of the soul. It’s about public conscience and private grief, and real and symbolic catastrophes.”?The New York Observer “Anyone who doubts that Mr. Shinn is among the most provocative and probing of American playwrights today need only experience the . . . sophisticated welding of form and content that is Dying City.”?The New York Times In Christopher Shinn’s new play Dying City, a young therapist, Kelly, whose husband Craig was killed while on military duty in Iraq, is confronted a year later by his identical twin Peter, who suspects that Craig’s death was not accidental. Set in a spare downtown-Manhattan apartment after dark, scenes shift from the confrontation between Peter and Kelly, to Kelly’s complicated farewell with her husband Craig. Shinn’s creepy, sophisticated drama?infused with references to 9/11 and the war in Iraq?explores how contemporary politics and recent history have transformed the lives of these three characters. Christopher Shinn was born in Hartford, Connecticut, and lives in New York. His plays include Where Do We Live, Other People, What Didn’t Happen, and On the Mountain, which have been widely produced in New York, across the United States, and in London. He is the recipient of an OBIE Award in Playwriting, as well as the Robert S. Chesney Award. He teaches playwriting at The New School for Drama.

    A once-promising novelist, she announces to her family the imminent publication of a memoir dredging up a pivotal and tragic event in the family's history - a wound that her parents don't want reopened.Brooke has come home to draw a line in the sand and is daring her family to cross it. Her brother won't play her game; her aunt knows way too much, and her parents fall into all their old routines as they plead with her to keep their story quiet. In this family, secrets are currency and everyone is rich.In simplest terms, the play is about a girl who comes home to the desert with a story about where she is from, who her people really are, what she thinks they really are. Her parents represent an Establishment that she feels has betrayed this country. She goes to war with them, and blood is spilled.

    The series is written and show-run by Neil himself and stars David Tennant, Michael Sheen, Jon Hamm and Miranda Richardson, to name but a few.**Includes an introduction by Neil Gaiman about bringing GOOD OMENS to the screen**In 1990, dream literary collaborators Terry Pratchett and Neil Gaiman published 'the funniest book they could write' about the end of the world. Now, Neil Gaiman reinvents their groundbreaking classic for 2019 with his original shooting scripts from the show, and gives readers a unique insight into his adaptation and vision for translating this iconic novel to the screen in an introductory essay.This all-new take on a tale about representatives of good and evil who join forces to prevent the coming apocalypse (which is scheduled to happen on a Saturday, just after tea) will be a joy for fans and new readers alike.

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    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.

    Thirty-five-year-old Felix Humble is a Cambridge astro-physicist in search of a unified field theory. Following the sudden death of his father, Felix returns to his middle England home and his difficult and demanding mother, where he soon realises that his search for unity must include his own chaotic home life.Humble Boy premiered at the Royal National Theatre, London, in August 2001, and transferred to the Gielgud Theatre, London, in 2002. The play was the winner of the Susan Smith Blackburn Award 2001, the Critics' Circle Best New Play Award 2002, and the People's Choice Best New Play Award 2002.

    Here men from all walks of life don the garb of their fantasies and act them out: a man from the gas company wears the robe and mitre of a bishop; another customer becomes a flagellant judge, and still another a victorious general, while a bank clerk defiles the Virgin mary. These costumed diversions take place while outside a revolution rages on which has isolated the brothel from the rest of the rebel-controlled city. In a stunning series of macabre, climactic scenes, Genet presents his caustic view of man and society.

    Greg's career as a financial trader is winding down, while Kate's career, as a public-school English teacher, is beginning to offer her more opportunities. Greg brings home a dog he found in the park or that has found him bearing only the name "Sylvia" on her name tag. A street-smart mixture of Lab and Poodle, Sylvia becomes a major bone of contention between husband and wife. She offers Greg an escape from the frustrations of this job and the unknowns of middle age. To Kate, Sylvia becomes a rival for affection. And Sylvia thinks Kate just doesn't understand the relationship between man and dog. The marriage is put in serious jeopardy until, after a series of hilarious and touching complications, Greg and Kate learn to compromise, and Sylvia becomes a valued part of their lives.