He has two manuscripts but lacks the funds to publish both. His difficult decision--whether to publish his lover's memoir or the novel written by his best friend--is further complicated by the arrival of a mysterious machine that produces pages predicting the future of the play's protagonists, affecting their lives and relationships in haunting and unexpected ways. "The Violet Hour" opened on Broadway on November 6, 2003, starring Robert Sean Leonard.

    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.

    He enlists the aid of his lifelong buddy, Aldo Scalicki, a confirmed bachelor who tries, without apparent success, to convince Huey that he would be better off sticking with his new lady friend, Teresa, a usually placid young waitress whose indignation flares when she learns what Huey is up to. In a moonlit balcony scene (hilariously reminiscent of Cyrano de Bergerac) Aldo pleads his lovesick friend's case and, to his astonishment, Janice capitulates although not for long. However we do learn that her earlier abuse of Huey was intended to make him "act like a man" which, at last, he does. And, more than that, he (and the audience) become aware that, in the final essence, "the greatest and only success is to be able to love" a truth which emerges delightfully from the heartwarming, wonderfully antic and always imaginatively conceived action of the play.

    The story of two white-collar managers, Chad and Howard, who maliciously plot to jointly romance the lonely, deaf, beautiful office temp Christine before simultaneously dumping her, is cool and compelling in its depiction of the worst sorts of emotional abuse. What begins as a cat-and-mouse game of one-upmanship quickly escalates into full-scale psychological warfare. Only too late does this 'frat boy' prank reveal itself as deadly serious, with a struggle between the two men at the heart of the battle. The woman is only a means to an end, a pawn easily captured and tossed aside in a dark, wicked duel for corporate ascension.

    The guide presents the major debates that surround these works as they develop, from Martin Esslin's early appropriation of the plays as examples of the Theatre of the Absurd, to recent poststructuralist and postcolonial readings by critics such as Steven Connor, Mary Bryden and Declan Kiberd. Throughout, Boxall clarifies and contextualizes critical responses to the plays, and considers the difficult relationship between Beckett and his critics.

    An intricate fusion of music, dance, mask, costume and language, the dramas address many subjects, but the idea of form is more central than meaning and their structure is always ritualized. Selected for their literary merit, the twenty-four plays in this volume dramatize such ideas as the relationship between men and the gods, brother and sister, parent and child, lover and beloved, and the power of greed and desire. Revered in Japan as a cultural treasure, the spiritual and sensuous beauty of these works has been a profound influence for English-speaking artists including W. B. Yeats, Ezra Pound and Benjamin Britten.

    Albee there is a theme beneath the surface, in this case the corruption of money and the rottenness of this bigoted exurbia where conformity to its illiberal standards and its hypocritical show of respectability is all that counts. The scene is the suburban home of Jenny and Richard, beautifully played by Barbara Bel Geddes and Barry Nelson. The only thing that seems to stand in the way of their happiness is a lack of money. The action starts in an entertaining comedy of manners style. Then abruptly there enters a Mrs. Toothe in the menacing and fascinating person of Beatrice Straight who offers Jenny the opportunity to make more money than they have ever had, to buy a greenhouse and all the other luxuries that they require for their garden and their lives. Richard's realization that their newfound money is being earned by his wife's whoring comes almost simultaneously with the return of their fourteen-year-old son from school and a champagne cocktail party which they are giving to impress their country club friends. As a result, his horror, disgust and rage has to be kept under wraps in order to keep up essential appearances until tragedy strikes, and Richard realizes that the assembled wives are all involved and their husbands are aware and condoning." More than that, they are prepared not merely to justify but defend the ends through which their means are attained and the devastated Richard, left in agonized despair by the ironic events that charge the final moments of the play, must face the fact of his own share in their communal guilt.

    Someone - or something - is leaving bite marks in the avocados, Clay and Kelly's little daughter has an itch, and Carol can't remember who played Gandhi. This work takes a look at phoney liberal values.

    "Softcops renders the philosophy of Foucault as a music-hall turn and Victorian freakshow "theatre and history combine to give such intelligent fun" —The London Standard "Top Girls brings five great and less-than-great women from history together for a dinner party and "has a combination of directness and complexity which keeps you both emotionally and intellectually alert"—Sunday Times Fen scrutinizes the lives of the low-paid women potato pickers of the fens (in Eastern England) and "the playwright pins down her poetic subject matter in dialogue of impressive vigour and economy"—Financial Times Serious Money is a satirical study of the effects of the Big Bang - "Pure genius…the first play about the city to capture the authentic atmosphere of the place."—Daily Telegraph

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.

    In an unprecedented (for him) run of promiscuity, Ty has managed to impregnate three women in the span of one week: His ex-girlfriend, his 40-something married next-door neighbor, and his 18 year-old student. In this edgy comedy by playwright Rajiv Joseph, Ty's problems illuminate every triumph and failure of his life, and as the women

    They represent the crowning achievements of his career.O’Neill described Ah, Wilderness! as “the way I would have liked my boyhood to have been.” Set in the summer of 1906, it affectionately depicts the warm, close family of 16-year-old Richard Miller and the innocence with which he faces the trials of first love, strong drink, and sexual temptation.John Loving, hero of Days Without End, is split by his lack of faith into two selves: John and his Mephistophelian double Loving, who wears John’s death mask and plots his destruction. Burdened by guilt but desperately wanting to love, John struggles with Loving’s nihilistic hatred in what O’Neill termed his “modern miracle play.”In A Touch of the Poet, Irish tavern-keeper Con Melody is drawn by his proud past as a Byronic cavalry hero of the Napoleonic Wars toward a fatal confrontation with his wealthy Yankee neighbors, the Harfords.Throughout More Stately Mansions, the idealistic yet cunning Simon Harford, his wife, Sara Melody Harford, and his mother, Deborah, continually shift roles and alliances as they engage in an eerie psychological and sexual battle for possession of each other and their own maddeningly elusive dreams. This volume presents the never-before-published complete text of the revised typescript for this unfinished play.The derelict inhabitants of Harry Hope’s saloon in The Iceman Cometh find solace in their comradeship until their drifting calm is destroyed by the visiting salesman Theodore Hickey, who insists that they abandon all “pipe dreams” and face the truth about their lives. O’Neill carefully orchestrates the voices of over a dozen characters to form a chorus of overwhelming despair and surprising compassion.Hughie is a one-act dialogue between a reminiscing gambler and a weary hotel night clerk about the promise and loneliness of city life.Long Day’s Journey into Night unsparingly dissects the pain, rage, guilt, and love that drive a wounded family apart and bind it together. In their summer home the four Tyrones—James, a proud actor haunted by poverty, his devout, morphine-addicted wife, Mary, and their sons, Jamie, a cynical drunkard, and Edmund, an aspiring poet—slowly unveil the truth about their lives until they can no longer hope either to save or to escape one another. Published and produced posthumously, it won O’Neill his fourth Pulitzer Prize.In its elegiac coda, A Moon for the Misbegotten, Jamie Tyrone seeks the peace that has long eluded him in the arms of sharp-tongued Josie Hogan.The volume concludes with “Tomorrow” (1917), O’Neill’s only published short story.

    In a critical preface, Bentley finds all four works to be a Gogolian treatment of love - or the lack of love - and by the same token, thoroughly original works of dramatic art. Also includes a piece on Gamblers by the eminent Polish critic Jan Kott.

    Hairspray (978-1-5578-3514-7); Rent (978-1-5578-3737-0); Fiddler on the Roof (978-0-8791-0136-7)

    Now considered the standard canon of modern Japanese writing translated into English, Modern Japanese Literature includes concise introductions to the writers, as well as a historical introduction by Professor Keene. Includes: Growing Up by Ichiyo, a lyrical story of pre-adolescence in the 90s; Natsume’s story of Botchan, an illustarred and ineffectual Huck Finn; Nagai’s The Sumida River; Kokomitsu’s Kafkaesque Time; Kawabata’s The Mole; Firefly Hunt; a glimpse into Tanizaki’s masterpiece Thin Snow; and the postwar work of such writers as Dazai and Mishima.