It is not what we do; it is what we are that is decisive. People with weak, trivial natures will be unhappy, no matter who they are with, or what they are doing. Instead of improving their character, they will always long for that someone or something or some place to make it all better. Those with stronger characters have a greater chance of happiness no matter what their choices have been.

    . . this passionate play about a family struggling to outrun social prophecy is potent and intensely acted." --The New York Times"Pipeline showcases an American play wright in full blaze." --Huffington Post"This is a writer who has a flawless ear for the way kids see the world and their ability to navigate it with surgical eloquence." --DeadlineNya, an inner-city teacher, is desperate to give her only son, Omari, opportunities he'd otherwise never have in the flawed public education system. When an incident at his private school threatens to get him expelled, Nya must con- front the full weight of the impact her parenting decisions have made on her son. Inspired by the "school-to-prison" pipeline that ensnares people of color, Morisseau brings us a powerful play that delves into issues of class, race, parenting, and education in America and questions the systematic structures that ultimately trap underserved communities.Dominique Morisseau's plays include Detroit '67, Paradise Blue, Skeleton Crew, Sunset Baby, Follow Me to Nellie's, Third Grade, Black at Michigan, Socks, Roses Are Played Out, and Love and Nappiness. Morisseau is a recipient of the Edward M. Kennedy Prize for Drama, two NAACP Image Awards, a commendation from the Primus Prize by the American Theatre Critics Association, and the winner of the 2012 Barrie and Bernice Stavis Play wright Award by National Theatre Conference.

    His hero-worshipping friend Warren has just impulsively stolen $15,000 from his father, an abusive lingerie tycoon. When Jessica, a mixed-up prep school girl, shows up for a date, Warren pulls out a wad of bills and takes her off, awkwardly, for a night of seduction. A wildly funny, bittersweet, and moving story, This Is Our Youth is as trenchant as it was upon its acclaimed premiere in 1996.

    Derived from interviews with a wide range of  people who experienced or observed New York's 1991  Crown Heights racial riots, Fires In The  Mirror is as distinguished a work of  commentary on current Black-White tensions as it is a  work of drama.

    It remains one of the world's most widely produced plays. The plot follows a love affair between two people, Doris and George, married to others, who rendezvous once a year. Twenty-five years of manners and morals are hilariously and touchingly played out by the lovers. "Delicious wit, compassion, a sense of humor and a feel for nostalgia."-The New York Times "Genuinely funny and genuinely romantic."-The New York Post

    Scenery: A bare stageThe six teenage characters communicate only via the internet. Conversations range in subject from Britney Spears to Willy Wonka to - suicide: Jim is depressed and talks of ending his life and Eva and William decide to do their utmost to persuade him to carry out his threat. From this chilling premise is forged a funny, compelling and uplifting play that tackles the issues of teenage life head-on and with great understanding.

    This claim is not only false, but its presence in the debate is an insult to science." With these words, the authors begin a detailed analysis of one of the most controversial topics of the day. The authors make a compelling case against claims of a scientific consensus. The purported proof of such a consensus consists of sloppy research by nonscientists, college students, and a highly partisan Australian blogger. Surveys of climate scientists, even those heavily biased in favor of climate alarmism, find extensive disagreement on the underlying science and doubts about its reliability. The authors point to four reasons why scientists disagree about global warming: a conflict among scientists in different and often competing disciplines; fundamental scientific uncertainties concerning how the global climate responds to the human presence; failure of the United Nations Intergovernmental Panel on Climate Change (IPCC) to provide objective guidance to the complex science; and bias among researchers. The authors offer a succinct summary of the real science of climate change based on their previously published comprehensive review of climate science in a volume titled Climate Change Reconsidered II: Physical Science. They recommend that policymakers resist pressure from lobby groups to silence scientists who question the authority of the IPCC to claim to speak for climate science. More than 50,000 copies of the first edition were sold or given away in five months to elected officials, civic and business leaders, scientists, and other opinion leaders. The response from the science community and experts on climate change has been overwhelmingly positive. To meet demand for more copies, we have produced this second revised edition. Changes include a foreword by Marita Noon, at the time executive director of Energy Makes America Great, Inc. Some of the discussion in Chapter 1 has been revised and expanded thanks to feedback from readers of the first edition. Graphs in Chapters 4, 5, and 6 are now full color, and new graphs have been added.

    Jill's a kooky, fun-loving actress who refuses to be tied down.Don's a lovable, happy-go-lucky singer who is trying to make it on his own.How they fall in love - almost lose each other - and then learn the real meaning of love - is a funny, touching story of today.

    As a tour guide at Fustian House, one of the least stately of London's stately homes, she theatrically embellishes its historical past, ultimately coming up on the radar of Lotte Schon, an inspector from the Preservation Trust. Neither impressed or entertained by Lettice's freewheeling history lessons, Schon fires her. Not one however, to go without a fight, Lettice engages the stoic, conventionial Lotte in battle to the death of all that is sacred to the Empire and the crown.

    Although Australia’s prompt, science-led response to COVID-19 has not been perfect, it has saved tens of thousands of lives. But for decades, governments have ignored, ridiculed or understated the advice of scientists on the climate emergency.Now, in the wake of the megafires of 2020, a time of reckoning has arrived. In The Climate Cure renowned climate scientist Tim Flannery takes aim at those responsible for the campaign of obfuscation and denial that has already cost so many Australian lives and held back action on climate change.Flannery demands a new approach, based on the nation’s response to COVID-19, that will lead to effective government policies. The Climate Cure is an action plan for our future. We face a fork in the road, and must decide now between catastrophe and survival.

    George Orwell's prophetic, nightmarish vision of "Negative Utopia" is timelier than ever-and its warnings more powerful in this three-act adaptation.

    A moving and hilarious account of a spring day in a small Welsh coastal town, Under Milk Wood is "lyrical, impassioned and funny, an Our Town given universality" (The New Statesman and Nation).

    Their destination was the Eden Valley, and a small stock-rearing and dairy farm called Rowfoot. There they have spent the last 20 years getting to grips with the practice of running a working farm, keeping sheep, cattle, pigs, and horses, becoming part of the community, and coping with the ups and downs of farming life.

    The Member of the Wedding—which became an award-winning play and a major motion picture—showcases McCullers at her most sensitive, astute, and best.

    The play begins in 1977, with a meeting between adulterous lovers, Emma and Jerry, two years after their affair has ended. During the nine scenes of the play, we move back in time, through the states of their affair, with the play ending in the house of Emma and Robert, her husband, who is Jerry's best friend.The classic dramatic scenario of the love triangle is manifest in a mediation on the themes of marital infidelity, duplicity, and self-deception. Pinter writes a world that simultaneously glorifies and debases love.