Her mother, Nancy, retreats into a state of frozen hope. Agnetha, an academic, comes to England to research a thesis entitled Serial Killings: A Forgivable Act? Then there's Ralph, a loner with a bit of a record who's looking for some distraction . . . Drawn together by horrific circumstances, these three embark upon a long, dark journey that finally curves upward into the light.

    

    But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    In this hilarious comedy by the author of Lend Me A Tenor and Moon Over Buffalo, two English Shakespearean actors, Jack and Leo, find themselves so down on their luck that they are performing "Scenes from Shakespeare" on the Moose Lodge circuit in the Amish country of Pennsylvania. When they hear that an old lady in York, PA is about to die and leave her fortune to her two long lost English nephews, they resolve to pass themselves off as her beloved relatives and get the cash. The trouble is, when they get to York, they find out that the relatives aren't nephews, but nieces! Romantic entanglements abound, especially when Leo falls head-over-petticoat in love with the old lady's vivacious niece, Meg, who's engaged to the local minister. Meg knows that there's a wide world out there, but it's not until she meets "Maxine and Stephanie" that she finally gets a taste of it.

    and was the sensation of that year's theatre season, making front-page headlines and outraging some critics who thought her premise that there was a connection between a rape in a Leeds hotel room and the hellish devastation of civil war was simply an attempt to shock audiences. The questions raised in this play about violence are at the heart of Kane's writing.

    Theatergoers who have followed August Wilson’s career will find in Gem a touchstone for everything else he has written.”—Ben Brantley, The New York Times“Wilson’s juiciest material. The play holds the stage and its characters hammer home, strongly, the notion of newfound freedom.”—Michael Phillips, Chicago TribuneGem of the Ocean is the play that begins it all. Set in 1904 Pittsburgh, it is chronologically the first work in August Wilson’s decade-by-decade cycle dramatizing the African American experience during the 20th century—an unprecedented series that includes the Pulitzer Prize–winning plays Fences and The Piano Lesson. Aunt Esther, the drama’s 287-year-old fiery matriarch, welcomes into her Hill District home Solly Two Kings, who was born into slavery and scouted for the Union Army, and Citizen Barlow, a young man from Alabama searching for a new life. Gem of the Ocean recently played across the country and on Broadway, with Phylicia Rashad as Aunt Esther.Earlier in 2005, on the completion of the final work of his ten play cycle-surely the most ambitious American dramatic project undertaken in our history-August Wilson disclosed his bout with cancer, an illness of unusual ferocity that would eventually claim his life on October 2. Fittingly the Broadway theatre where his last play will be produced in 2006 has been renamed the August Wilson Theater in his honor. His legacy will animate the theatre and stir the human heart for decades to come.

    Fluidly incorporating film and video elements into her writing for the first time, Nottage's comedy tells the story of Vera Stark, a headstrong African American maid and budding actress who has a tangled relationship with her boss, a white Hollywood star desperately grasping to hold onto her career. Stirring audiences out of complacency by tackling racial stereotyping in the entertainment industry—a topic that remains largely unexplored in mainstream arts and entertainment—Nottage highlights the paradox of black actors in 1930s Hollywood while jumping back and forward in time and location in this uniquely theatrical narrative.Lynn Nottage's plays include the Pulitzer Prize–winning Ruined; Intimate Apparel, the most widely produced play of the 2005–06 theater season in America; Fabulation, or the Re-Education of Undine; Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por'knockers; and POOF!

    "Once in a Lifetime" is a satire about three small-time vaudevillians who set out for Hollywood as films move from silents into sound.The 1936 Pulitzer Prize winner "You Can’t Take It With You" is about a zany family of hobby-horse enthusiasts. For thirty-five years Grandpa has done nothing but hunt snakes, throw darts, and avoid income-tax payments; his son-in-law makes fireworks in the basement, and other assorted family members write plays, operate amateur printing presses, and play the xylophone. They live in playful eccentricity until daughter Alice brings home her Wall Street boyfriend."The Man Who Came to Dinner" (1939) became a long-running hit. It portrays an eminent lecturer (based on Alec Woollcott) who accepts a dinner invite in a small Ohio town, slips on the ice outside his hosts’ home, and is forced to their sickbed. Convalescing he turns the house into bedlam with his wacky friends and diabolic pranks.Also included in this volume are “Men at Work” and “Forked Lightning,” two essays Kaufman and Hart wrote about each other.

    "A brave and breathtaking musical."--The New York Times

    His major plays are frequently revived in modern productions.

    Inspired by a true story, Radium Girls traces the efforts of Grace Fryer, a dial painter, as she fights for her day in court. Her chief adversary is her former employer, Arthur Roeder, an idealistic man who cannot bring himself to believe that the same element that shrinks tumors could have anything to do with the terrifying rash of illnesses among his employees. As the case goes on, however, Grace finds herself battling not only with the U.S. Radium Corporation, but also with her own family and friends, who fear that her campaign for justice will backfire.(Not to be confused with the one-act version of this story by the same title.)

    There are 10 reading parts.

    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.

    Her short story, "A Jury of Her Peers", was adapted from the play a year after its debut. It was first performed by the Provincetown Players at the Wharf Theatre in Provincetown, Massachusetts on August 8, 1916. In the original play, Glaspell played the role of one of the characters, Mrs. Hale. It is frequently anthologized in American literature textbooks. The play begins as the county attorney, the sherrif, Mr. Hale, Mrs. Peters, and Mrs. Hale enter the Wright's empty farm house. On prompting from the county attorney, Mr. Hale recounts his visit to the house the previous day, when he found Mrs. Wright behaving strangely and found her husband upstairs with a rope around his neck, dead. Mr. Hale notes that, when he questioned her, Mrs. Wright claimed that she was fast asleep when someone strangled her husband.Often hailed as one of the quintessential feminist plays, 'Trifles' earned Glaspell a Pulitzer Prize and renewed literary recognition.

    Martin Sherman's worldwide hit play Bent took London by storm in 1979 when it was first performed by the Royal Court Theatre, with Ian McKellen as Max (a character written with the actor in mind). The play itself caused an uproar. "It educated the world," Sherman explains. "People knew about how the Third Reich treated Jews and, to some extent, gypsies and political prisoners. But very little had come out about their treatment of homosexuals." Gays were arrested and interned at work camps prior to the genocide of Jews, gypsies, and handicapped, and continued to be imprisoned even after the fall of the Third Reich and liberation of the camps. The play Bent highlights the reason why - a largely ignored German law, Paragraph 175, making homosexuality a criminal offense, which Hitler reactivated and strengthened during his rise to power.