He has also written fim scripts and for television.

    Yet Steven Adly Guiguis has created a profane, hilarious masterpiece that earned a "hatful" of theatrical accolades in 2011, including a Drama Desk award for Outstanding Actor in a Play for Bobby Cannavale. Stars the original Broadway cast: Chris Rock, Bobby Canavale, Annabella Sciorra, Elizabeth Rodriguez and Yul Vazquez.

    The party that he and his brother Darren have been planning has been brought forward - to tonight.In a lawless, ravaged city, where memories of the past have been brutally erased, the boys and their team survive by realising their clients' darkest fantasies. But just how far are they prepared to go in trading humanity for information? As the light fades and events spiral out of control it becomes clear that on the success of the evening hangs not just their security, but their existence. The world is at its worst?let the party begin. Mercury Fur is a challenging new work containing some explicit scenes that may cause offence.Published to tie-in with the play's premier at the Drum Theatre, Plymouth and The Chololate Factory, London in February 2005, produced by Paines Plough."Philip Ridley is a singular writer, a prolific polymath, probably a genius, and the creator of some of the most peculiar, grotesque and compelling British plays (and films) of the last several years" Time Out

    As their wedding day grows near, Alfred finds himself embroiled in an urban nightmare not the least of which is his fiance's family, the possiblity of marriage without Faith, muggings, and a sniper's bullet.

    The tragicomedy of race, class, manners and naivete of liberalism.

    He browbeats his flatmate, terrorizes his wife, and is not above sleeping with her best friend-who loathes Jimmy almost as much as he loathes himself. Yet this working-class Hamlet, the original Angry Young Man, is one of the most mesmerizing characters ever to burst onto a stage, a malevolently vital, volcanically articulate internal exile in the dreary, dreaming Siberia of postwar England.First produced in 1956, Look Back in Anger launched a revolution in the English theater. Savagely, sadly, and always impolitely, it compels readers and audiences to acknowledge the hidden currents of rottenness and rage in what used to be called "the good life."

    Failed ideals and human disillusionment give way in Hamletmachine to the youth clamoring in reaction against the past in order to change the present. To break free of the continual cycle of violence within history the past is questioned and deconstructed. Moving away from psychological narrative, Hamletmachine creates a landscape of the betrayed revolution. Brown's production challenges and provides resistance to this complicated text, inciting spectators to do the same. This performance is an exploration into the place of theatre as a sight of revolutionary change. In Müller's words, "the slogan of the Napoleonic era still applies: Theater is the Revolution on the march."

    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.

    A paean to live theater, and to the resilience of Bart Simpson through the ages, Mr. Burns is an animated exploration of how the pop culture of one era might evolve into the mythology of another."--Publisher's website

    This songbook contains easy piano arrangements of a dozen songs from Mel Brooks' Broadway blockbuster, the winner of a record 12 Tony Awards! Includes: Along Came Bialy * Der Guten Tag Hop-Clop * Goodbye! * Haben Sie Gehort Das Deutsche Band? * I Wanna Be a Producer * In Old Bavaria * Keep It Gay * Prisoners of Love * Springtime for Hitler * That Face * 'Til Him * When You Got It, Flaunt It.

    The dialogue crackles with hilarious, caustic putdowns as the indomitable Maggie deals with her feckless family and unwanted suitors. Everyone wants a part of Big Maggie and her property but she has other ideas.

    In this her latest collection of essays she explores the story-telling impulse, and asks how she, as a product of postmodernism, can reconnect to the primal act of making meaning and telling stories. She also asks how theatre practitioners can think of themselves not as stagers of plays but orchestrators of social interactions and participants in an on-going dialogue about the future.We dream. And then occasionally we attempt to share our dreams with others. In recounting our dreams we try to construct a narrative... We also make stories out of our daytime existence. The human brain is a narrative creating machine that takes whatever happens and imposes chronology, meaning, cause and effect... We choose. We can choose to relate to our circumstances with bitterness or with openness. The stories that we tell determine nothing less than personal destiny. (From the introduction)This compelling new book is characteristically made up of chapters with one-word titles: Spaciousness, Narrative, Heat, Limits, Error, Politics, Arrest, Empathy, Opposition, Collaboration and Sustenance. In addition to dipping into neuroscience, performance theory and sociology, Bogart also recounts vivid stories from her own life. But as neuroscience indicates, the event of remembering what happened is in fact the creation of something new."

    Its fourteen-year-old heroine Wendla is killed by abortion pills. The young Moritz terrorized by the world around him and especially by his teachers shoots himself. The ending seems likely to be the suicide of Moritz's friend Melchior but in a confrontation with a mysterious stranger (the famous Masked Man) he finally manages to shed his illusions and face the consequences.

    The two begin to interlock as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage. In the end, at the disastrous final performance, the two plots can be kept separate no longer, and coalesce into a single collective nervous breakdown.