Under his recklessly brilliant and unorthodox instruction, some thrive and others flounder, alliances are made and broken, sex is used as a weapon and hearts are unmoored. The wordplay is not the only thing that turns vicious as innocence collides with experience in this biting Broadway comedy.

    The tavern is owned by a tempestuous Irishman who is a s proud as he is ill-tempered and is determined to show his pride and importance to the Yankee townsmen.

    The superstitious townspeople resent their happiness and their subsequent meddling ends in violence and tragedy. This play was proclaimed a Broadway hit.

    R. Gurney has wittily captured the manners of upper-middle-class WASP America, but never as gracefully or with such dazzling economy as in Love Letters. Tracing the lifelong correspondence of the staid, dutiful lawyer Andrew Makepeace Ladd III and the lively, unstable artist Melissa Gardner, the story of their bittersweet relationship gradually unfolds from what is written--and what is left unsaid--in their letters. A smash hit both off and on Broadway, Love Letters captures Andy and Melissa with a precision of detail and depth of feeling that only Gurney can command. Two other, thematically related plays by Gurney, The Golden Age and What I Did Last Summer, are included, providing a trio of wry and affectionate paeans to love lost, found, and fleetingly glimpsed.

    A masterful poet of the downtrodden, his plays portray life on New York's hardscrabble streets in a manner both tender and unflinching, while continually exploring the often startling gulf between who we are and how we perceive ourselves. Gathered in this volume is his current off-Broadway hit, Our Lady of 121st Street, a comic portrait of the graduates of a Harlem Catholic school reunited at the funeral of a beloved teacher, along with his two previous plays: the philosophical jailhouse drama Jesus Hopped the A Train and In Arabia, We'd All Be Kings, an Iceman Cometh for the Giuliani era that looks at the effect of Times Square's gentrification on its less desirable inhabitants.

    "What Lenny Bruce was to the 1950s, Bob Dylan to the 1960s, Woody Allen to the 1970s--that's what Eric Bogosian is to this frightening moment of drift in our history."--Frank Rich, The New York Times

    Playwright Olympe De Gouge, assassin Charlotte Corday, and former queen (and fan of ribbons) Marie Antoinette, and Haitian rebel Marianne Angelle hang out, murder Marat, loose their heads, and try to beat back the extremist insanity in revolutionary Paris. This grand and dream-tweaked comedy is about violence and legacy, feminism and terrorism, art and how we actually go about changing the world. It a true story. Or total fiction. Or a play about a play. Or a raucous resurrection that ends in a song and a scaffold.

    Son of a blacksmith, political genius, briber, charmer, bully. A man with a deadly expertise in manipulating people and events. Mike Poulton's two-part adaptation of Hilary Mantel's acclaimed novels 'Wolf Hall' and 'Bring Up the Bodies' is a thrilling and utterly convincing portrait of a brilliant man embroiled in the lethal, high-stakes politics of the court of Henry VIII. 'Wolf Hall' begins in England in 1527. Henry has been King for almost twenty years and is desperate for a male heir, but Cardinal Wolsey is unable to deliver the divorce he craves. Into this volatile court enters the commoner Thomas Cromwell, who sets out to achieve the King's desire, whilst methodically and ruthlessly pursuing his own reforming agenda. In 'Bring Up the Bodies', Anne Boleyn is now Queen, her path to Henry's side cleared by Cromwell. When the King begins to fall in love with Jane Seymour, Cromwell must negotiate within an increasingly perilous court to satisfy Henry, keep the nation safe, and advance his own ambitions. Hilary Mantel's novels are the most formidable literary achievements of recent times. She is the first writer to win the Man Booker Prize with consecutive novels.Adapted by Mike Poulton, the plays were premiered by the Royal Shakespeare Company at the Swan Theatre, Stratford-upon-Avon, in December 2013, directed by Jeremy Herrin. This edition contains a substantial set of notes by Hilary Mantel on each of the principal characters, offering a unique insight into the world of the plays and an invaluable resource to any theatre companies wishing to stage them.

    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.

    A moving and hilarious account of a spring day in a small Welsh coastal town, Under Milk Wood is "lyrical, impassioned and funny, an Our Town given universality" (The New Statesman and Nation).

    is a series of women's monologues tackling many different aspects of the complex female psyche.

    Wealthy, overbearing Madame Rosepettle with her stuttering, awkward son Jonathan at her heels, arrives at a posh hotel with a man-eating tropical plant, pirahna fish and coffin in tow. Rosalie, a voluptuous babysitter from the couple next door "who never come home" attempts to seduce Jonathan and proves a formidable opponent to Madame herself.

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

    Each playlet focuses on a different individual dramatising their life in the run-up to the tragedy.Published to coincide with the English language premiere at the Traverse Theatre in August as part of the International Edinburgh Festival before transferring to the Birmingham Rep, this is the first stage play to confront the London bombings of 7 July 2005.

    When Agnes finds Tilly's Dungeons & Dragons notebook, however, she stumbles into a journey of discovery and action-packed adventure in the imaginary world that was Tilly's refuge. In this high-octane dramatic comedy laden with homicidal fairies, nasty ogres, and 90s pop culture, acclaimed young playwright Qui Nguyen offers a heart-pounding homage to the geek and warrior within us all.