Theatre script, playbook

    But when the young members of the Christian Puppet Ministry put those teachings into practice, one devout young man's puppet takes on a shocking personality that no one could have expected. In this hilarious black comedy, a foul-mouthed sock puppet named Tyrone soon teaches those around him that the urges that can drive a person to give in to their darkest desires fit like a glove. In Hand to God, a "true tour de force" (New York Times), Robert Askins has written a play of "unerring perfection" (Huffington Post). The must-see hit of the 2015 Broadway season, starring Steven Boyer and Geneva Carr, garnered an Obie Award and five Tony Award nominations, including Best Play, following its sold out, critically acclaimed off-Broadway runs at MCC Theater and Ensemble Studio Theatre.

    Twenty years ago when Falk was accused of murder, Luke was his alibi. Falk and his father fled under a cloud of suspicion, saved from prosecution only because of Luke’s steadfast claim that the boys had been together at the time of the crime. But now more than one person knows they didn’t tell the truth back then, and Luke is dead.Amid the worst drought in a century, Falk and the local detective question what really happened to Luke. As Falk reluctantly investigates to see if there’s more to Luke’s death than there seems to be, long-buried mysteries resurface, as do the lies that have haunted them. And Falk will find that small towns have always hidden big secrets.

    Poetry. Performance Studies. African & African American Studies. California Interest. Hybrid Genre. Winner of the 2016 Relentless Award from the American Playwriting Foundation. Introduction by Dawn Lundy Martin. Aleshea Harris' IS GOD IS is a classic revenge tale about two sisters that blends tragedy, typography, the Spaghetti Western, hip-hop and Afropunk. In this necessary new play, emotions are laid bare through gaps in language and characters are a window into the canon as well as our own broken times. A rigorous new work that unearths our deepest fears about humanity and who we think we are in relation to ourselves and the divine.--Dawn Lundy Martin Family, as the old tragedians knew, is our first country. Therefore, it's the earth from which we forge our first weapons, the fields of our first wars, the very turf over which we fight. With IS GOD IS, Aleshea Harris audaciously scours tragedy down with the rough edge of a rock. To read this merciless play is to get blood in your eye--and in Harris' sure grip, you'll recall that blood washes and stains, can run hot or cold, means both violence and family.--Douglas Kearney 3 Hole Press is a small press bringing new audiences to new plays in printed formats. The Press publishes titles that expand notions of what a play is, the possibilities that emerge for drama on the page, and the connection between plays and other mediums. Interdisciplinary by design, these books belong outside the drama section.

    Its lyrical scenes still etch a portrait of Cyrano as a man of uncompromising bravery except in matters of the heart. They come off beautifully in the intimate off-Broadway-size Roundabout Theater. To the open minded, Langella's work will hardly seem felonious and it may be a breakthrough!" --David Patrick Stearns, U S A Today"Frank Langella has abridged the text and given the play a bare-bones production shorn of extravagance. CYRANO is compelling enough in its characterizations, dialogue and situations to withstand minimalism." --Frank Scheck, Hollywood Reporter"Frank Langella's adaptation is relatively short, fast and intimate. The speed of the shortened version allows the ideas behind the play to emerge with great force and clarity. The result is a terrifically enjoyable and surprising thought-provoking piece of theater." --Fintan O'Toole, Daily News, New York

    So when the British Secret Service asks him to become their ‘man in Havana’ he can’t afford to say no. There’s just one problem…he doesn’t know anything! To avoid suspicion, he begins to recruit nonexistent sub-agents, concocting a series of intricate fictions. But Wormold soon discovers that his stories are closer to the truth than he could have ever imagined… In Clive Francis’ adaptation, Graham Greene’s classic satirical novel becomes a wonderfully funny and fast-moving romp.

    She understands and exploits the unique strengths of her medium: the ability to viscerally connect with an audience.” –The EconomistExperimental Korean American theatre artist Young Jean Lee has been called “one of the best experimental playwrights in America” (Time Out New York). This volume contains two of her recent works:In The Shipment, Lee provides a provocative look at African-American identity in our not-yet post-racial society. The New York Times calls this take on cultural images of black America “a subversive, seriously funny new theater piece… Ms. Lee wields sharp, offbeat humor to point up the clichés, distortions and absurdities” (Charles Isherwood, New York Times).LEAR is Lee’s own version of Shakespeare’s tragedy, focusing on the king’s three daughters. A production in which Lear himself never appears, LEAR is a “wacky blend of ‘To be or not to be,’ Beckett, and Pirandello…full of exhilarating, illuminating moments” (Village Voice).Young Jean Lee has written and directed shows in New York with Young Jean Lee’s Theater Company and toured her work to over twenty cities around the world. Her plays include Straight White Men, We’re Gonna Die, Untitled Feminist Show, The Shipment, Lear and Songs of the Dragons Flying to Heaven. Awards include two Obies, the Festival Prize of the Zuercher Theater Spektakel, a Prize in Literature from the American Academy of Arts and Letters, a Guggenheim Fellowship and a Doris Duke Artist Award.

    It is a fast and furious metropolitan crash of people, scenes and decades, as three sisters attempt to navigate their dislocated lives and loves, while their dysfunctional father, a brilliant scientist, predicts global catastrophe.Mike Bartlett's contemporary and directed dialogue combines a strong sense of humanity with epic ambition, as well as finely-aimed shafts of political comment embedded effortlessly into every scene. Earthquakes in London represents modern playwriting at its most exciting and ambitious.It's Cabaret, we've got our heads down and we're dancing and drinking as fast as we can. The enemy is on its way, but this time it doesn't have guns and gas it has storms and earthquakes, fire and brimstone…. You were the glimmer. At the end of the tunnel. And you went out.

    But the arrival of Ericka, a new student with undeniable talent and beauty, captures the attention of the pageant recruiter – and Paulina's hive-minded friends. This buoyant and biting comedy explores the universal similarities (and glaring differences) facing teenage girls across the globe.

    However, celebrations come to an abrupt end when the host suffers an horrific accident.As the victim lies in a coma, an almost unthinkable plan starts to take shape: could her suffering be their next work of art? The group is ecstatic in its new found project until things slip out of their control and, to the surprise of all, the patient awakes?pool (no water) is a visceral and shocking new play about the fragility of friendship and the jealousy and resentment inspired by success.Citizenship is a bittersweet comedy about growing up, following a boy's frank and messy search to discover his sexual identity. It was developed as part of the National Theatre Shell Connections 2005 Programme

    They've returned home to toast their mentor Gina, newly inducted as president of a tiny Catholic college. But as their reunion spirals into spiritual chaos and clashing generational politics, it becomes less a celebration than a vicious fight to be understood. On a chilly night in the middle of America, Will Arbery's haunting play offers grace and disarming clarity, speaking to the heart of a country at war with itself.

    A daughter’s determination Which one, if any, would be fulfilled first?Tammy, Donna, and Jenny were separated by divorce and divided by an ocean for decades.Their mother, Rose, had one wish—to see her girls together one more time.For Tammy, it would have to wait. She’s living out her dream as a commercial fisherwoman on the Pacific Ocean.But when a fishing trip goes wrong, she questions her future with the fleet.After two devastating deaths in the family, and when Tammy finds herself fighting for her own life not once but twice; the family takes center stage.She wants to make her mother’s wish come true.But did the sisters wait too long?Their mother’s health suddenly takes a turn for the worse. Will she get to see her girls together one more time?

    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.

    The key witness is a woman whose life seems a world away from theirs. At home, their own lives begin to unravel as every version of the truth is challenged.Consent, Nina Raine’s powerful, painful, funny play, sifts the evidence from every side and puts Justice herself in the dock. It premiered as a co-production between the National Theatre and Out of Joint, directed by Roger Michell at the National Theatre in 2017.

    Decades later, in What the Constitution Means to Me, she traces the effect that the Constitution has had on four generations of women in her family, deftly examining how the United States' founding principles are inextricably linked with our personal lives.