In the century since its first performance, The Cherry Orchard has undergone a wide range of conflicting interpretations: tragic and comic, naturalistic and symbolic, reactionary and radical. Beginning with the 1904 premiere at Stanislavsky's Moscow Art Theatre, this study traces the performance history of one of the landmark plays of the modern theatre. Considering the work of such directors as Anatoly Efros, Giorgio Strehler, Peter Brook, and Peter Stein, Chekhov: The Cherry Orchard explores the way different artists, periods and cultures have reinvented Chekhov's poignant comedy of failure and hope.

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    With Steffy, his sometime paramour, at his side, Herb decides to take another stab at fatherhood and hopefully this time, get it right.

    Fueled by jealousy and resentment, the girls embark on a night of debauchery that goes from playfully wasted to devastatingly destructive. Their old fears, unfulfilled desires and deep bonds with each other transform a prenuptial bender into a night they'll never forget. A wicked black comedy about female friendship and growing up in an age of excess.

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    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.

    This edition contains the definitive versions of these works, a foreword in which Rabe examines the interwoven relationship of the plays, and an afterword in which he discusses the process of their construction.

    At first, the new doctor cures anything

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    Her boss made a pass at her and she said no so she got a pink slip with her check. Julie's broke and disillusioned, so she drinks and turns on the stereo full blast to make the pain go away. Then her roommate comes home in the midst of an eating frenzy; her boyfriend has gone back to his wife so Alice has turned to food to forget. Julie suggests another way to vent their man

    The eclectic band of citizens that make up this town are portrayed by only two performers, making this satire on life in rural America even more delightful as they depict all of the inhabitants of Tuna -- men, women, children and animals.

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

     Danger is no stranger to the heartaches of the world. After losing her adoptive mother, she almost crumbles under a domino effect of misfortune. When she meets Sleep, she thinks she’s finally found a captain to save her, but when she learns his main goal is to pimp her out, Danger wastes no time getting from under his thumb. On the run to get as far away from Sleep as possible, she lands in Dallas, where she reunites with her bestie. Free is the true definition of dangerous curves. A BBW with enough personality to steal any show, she’s quick to flash a smile that hides her own set of demons. It’s hard to be comfortable in your skin, especially when family is the main one trying to tear you down, but Free is determined to stunt on everybody that has a problem with her weight— family included. Add the kind of street smarts that make a natural born hustler, and Free is every hitta’s dream come true. Whether they can handle her is the real question. Stranger is a self-made boss in his own right, a dude whose name rings bells in the streets and commands respect even while he’s locked up. Growing up with a schizophrenic for a mother made him unbreakable, but not above the law when he gets caught slipping. Done serving his time, he only has two things on his mind: hitting the streets and getting to the money by any means necessary. After stumbling across a connect and an offer he can’t refuse, Stranger agrees to collect a blood debt in exchange for the keys to the streets. Will his decision cost him more than he’s willing to give up? Where Stranger is a silent killer, Spazz, his younger brother, leaves a path of destruction with anything he touches. Wild, rude, and reckless, he’s ready to get it poppin’ if you even look at him wrong, and there’s only one thing that can tame his temper: his five-year-old daughter. With a mouth to feed and a street legacy to claim, he’s down with no hesitation when Stranger brings him into his plan to re-claim the streets. With his brother by his side, Spazz is ready to put his city on the map. Stranger never let his heart take his focus off the money, until he meets Danger. Mesmerized by her effortless beauty, he just has to have her, but there’s one problem: she’s on the arm of the same guy he’s planning to take down. Is he willing to kill for love? Spazz always gets what he wants, and he knows Free will be his from the minute he meets her. Never being attracted to BBWs in the past, he’s powerless against Free’s hypnotizing thickness, and her confidence and slick mouth are just the type of bonus that makes her worth the chase. Will he convince Free to take a chance on a real one? Ain’t nothin’ like lovin’ a savage, and once you get inside the head of one, your life will never be the same. Take a journey with Danger, Free, Stranger, and Spazz as they try to cheat the past for the future. Nothing goes as planned in love, especially once you’re Turned out by a Savage.

    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.

    One of his best-loved and most famous plays, it exposes the lies plaguing the family of a wealthy Southern planter of humble origins.