The popular image of the men who made the bomb is of dispassionate intellects who number-crunched their way towards a weapon whose devastating power they could not even imagine. But in his Tony Award-winning play Copenhagen, Michael Frayn shows us that these men were passionate, philosophical, and all too human, even though one of the three historical figures in his drama, Werner Heisenberg, was the head of the Nazis' effort to develop a nuclear weapon. The play's other two characters, the Danish physicist Niels Bohr and his wife, Margrethe, are involved with Heisenberg in an after-death analysis of an actual meeting that has long puzzled historians. In 1941, the German scientist visited Bohr, his old mentor and long-time friend, in Copenhagen. After a brief discussion in the Bohrs' home, the two men went for a short walk. What they discussed on that walk, and its implications for both scientists, have long been a mystery, even though both scientists gave (conflicting) accounts in later years. Frayn's cunning conceit is to use the scientific underpinnings of atomic physics, from Schr?dinger's famous cat to the Heisenberg uncertainty principle, to explore how an individual's point of view renders attempts to discover the ultimate truth of any human interaction fundamentally impossible. To Margrethe, Heisenberg was always an untrustworthy student, eager to steal from her husband's knowledge. To Bohr, Heisenberg was a brilliant if irresponsible foster son, whose lack of moral compass was part of his genius. As for Heisenberg, the man who could have built the bomb but somehow failed to, his dilemma is at the heart of the play's conflict. Frayn's clever dramatic structure, which returns repeatedly to particular scenes from different points of view, allows several possible theories as to what his motives could have been. This isn't the first play to successfully merge the world

    This extraordinary drama, produced to acclaim at the Actors Theatre of Louisville originally, and at NYC's Second Stage is about a celebrated 1930's French murder case, in which two maids sisters were convicted of murdering their employer and her daughter. This very cinematically structured work explores the motivations whi

    But hidden there is a secret no one wants to confront, and when they stumble upon it the friends set off an unstoppable chain of events. A supernatural thriller of suburban teenagers fleeing a mysterious plague.

    The Confidential Clerk was first produced at the Edinburgh Festival in the summer of 1953.'The dialogue of The Confidential Clerk has a precision and a lightly felt rhythm unmatched in the writing of any contemporary dramatist.' Times Literary Supplement'A triumph of dramatic skill: the handling of the two levels of the play is masterly and Eliot's verse registers its greatest achievement on the stage - passages of great lyrical beauty are incorporated into the dialogue.' Spectator

    Nine parallel lives, interlocked by four infidelities, one missing person and a mysterious stiletto, are woven through a fragmented series of confessionals and interrogations that gradually reveal a darker side of human nature.

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    Or so they think.

    

    Devout court composer Antonio Salieri plots against his rival, the dissolute but supremely talented Wolfgang Amadeus Mozart. How far will Salieri go to achieve the fame that Mozart disregards? The 1981 Tony Award winner for Best Play. An L.A. Theatre Works full cast performance featuring: Steven Brand as Baron van Swieten James Callis as Mozart Michael Emerson as Salieri Darren Richardson as Venticello 2 Alan Shearman as Count Orsini-Rosenberg Mark Jude Sullivan as Venticello 1 Simon Templeman as Joseph II Brian Tichnell as Count Johann Kilian Von Strack Jocelyn Towne as Constanze Directed by Rosalind Ayres. Recorded in Los Angeles before a live audience at The James Bridges Theater, UCLA in September of 2016.

    This Broadway hit starred Katharine Hepburn as Tracy Lord of the Philadelphia Lords, an inhibited and spoiled daughter of the privileged. Divorced from C.J. Dexter Haven, she is engaged to a successful young snob. A gossip weekly sends a reporter and a camera woman to report the wedding arrangements and they are injected into the house by Tracy's brother who hopes to divert their attention from father's romance with a Broadway dancer. Tracy finds herself growing int

    With her faith in academia beginning to erode and memories from her time in the Balkans and the Middle East haunting her, Nadia travels with her boyfriend, Philip Lucas, to rural England to visit her father, Oliver, who has his own past to reckon with. The challenge of Nadia's encounter with Oliver forces decisions on her that will affect her for the rest of her life.   For thirty-five years, David Hare has written plays that capture the flavor of our times and address the interconnection between our secret motives and our public politics. In The Vertical Hour, he continues his investigation of the morality of international intervention, and of how the war in Iraq impacts the lives of British and American citizens.

    Blood Wedding tells the story of a couple drawn irresistibly together in the face of an arranged marriage; Doña Rosita the Spinster follows the appalling fate of a young woman beguiled into the expectation of marriage and left stranded for a lifetime whilst Yerma is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. Set in and around his home territory, Granada, the plays return again and again to the lives of passionate individuals, particularly women, trapped by the social conventions of narrow peasant communities. The plays appear here in new playable translations.

    Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

    From high-class hookers to 7/7 survivors these monologues paint a revelatory picture of Britain as it is today. After rave reviews at the 2008 Edinburgh Festival and in New York, "Eight" opened in London's West End in July 2009.