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.

    Princess Pocahontas and the Blue Spots is a satire of colonization that celebrates Native women as creators and healers. It has become a classic in Canadian theatre since it was first published in 1991 and is now widely studied at universities and colleges across North America and around the world.The remarkable radio play Birdwoman and the Suffragettes: A Story of Sacajawea, first produced or CBC Radio Drama's Vanishing Point: Adventure Stories for Big Girls, is also included.

    It is also a scathing attack on the “public apology” as yet another mask, as a manipulative device, which always seeks to conceal the maintenance and furtherance of the self-interest of its wearer.Clements’s powerful visual sets and soundscapes contain curtains of flames which at times assume the bodies of a chorus passing its remote judgment, devoid of both pity and fear, on the action: a merciless indictment of the cross-cultural, buried worm of avarice and self-interest hidden within the terrorism of the push to “go with the times,” to accept the iconography of a reality defined, contextualized and illuminated by others.Marie Clements writes, or, perhaps more accurately, composes, with an urbane, incisive and sophisticated intellect deeply rooted in the particulars of her place, time and history.Cast of five women and 12 men.

    George Orwell's prophetic, nightmarish vision of "Negative Utopia" is timelier than ever-and its warnings more powerful in this three-act adaptation.

    Having been brought up in a Roman Catholic family in Havana, Cuba and descending from Spanish ancestry did not ensure that her life would be lived within that realm. In response to strong feelings and an affinity towards Judaism, her search for her family's past, took on a deeper significance as she researched her maternal lineage and not only discovered but documented and verified her Pre-Inquisition Spanish Roots to Fifteenth Century Spain and Portugal where they lived first as Jews, then as Crypto Jews and finally as Roman Catholics. She was able to unravel the web of lies and deceit that her family had spun around themselves in order to survive the Spanish Inquisition .They lived with one foot in each world as they converted to Catholicism openly while secretly practicing their own religion underground. Genie was fortunate enough to grab the brass ring that was thrown in the air over 500 years ago.

    Meanwhile, his daughter has a lesbian affair with one of his prostitutes downstairs. This translation debuted at Show World in Times Square in 1999 and "set Show World aflame" according to the Village Voice.

    When Daphna’s cousin Liam brings home his shiksa girlfriend Melody and declares ownership of their grandfather’s Chai necklace, a vicious and hilarious brawl over family, faith and legacy ensues.

    It premiered in London, in 1980 and won the Society for West End Theatres (SWET) award for Best Comedy of the Year. It was made into a highly successful film with Michael Caine and Julie Walters and won the 1983 BAFTA award for Best Film.Commentary and notes by Steve Lewis.

    This play, translated from the original Marathi, is one of his most gripping, socially relevant ones.

    Living Inspired Akiva Tatz Ever wondered why there is no parking on Golders Green Road on Wednesday nights? Because Wednesday night is Coffee Lounge and Deluxe Desserts with..

    It covers all of Kane's major plays and productions, contains hitherto unpublished material and reviews, and looks at her continuing influence after her tragic early death. Locating the main dramatic sources and features of her work as well as centralizing her place within the 'new wave' of emergent British dramatists in the 1990's, Graham Saunders provides an introduction for those familiar and unfamiliar with her work.

    Laugh-out-loud funny, and sometimes heartbreakingly moving, these tiny plays in which every one of us could have a starring role are little windows into other people's lives that reveal the triumphs, disasters, prejudices, horrors and joys of twenty-first-century life.

    Set in a tiny sewing factory in East L.A., this is the outrageously funny story of five full-figured Mexican-American women who are racing to meet nearly impossible production deadlines in order to keep their tiny factory from going under. And while they work, hiding from the INS (Immigration and Naturalization Service), they talk... about their husbands and lovers, their children and their dreams for the future. The story is told from the point of view of Ana, the youngest among them. Just graduated from high school, Ana dreams of getting out of the barrio and going off to college and becoming a famous writer. Although she needs money, Ana doesn't like working at the factory, and has little respect for the co-workers, who make fun of her ambitions and what they consider her idealistic feminist philosophies. However, Ana keeps coming to her job and chronicling here experiences in a journal. As the summer unfolds, she slowly gains an understanding and appreciation of the work and the women, eventually writing an essay that wins her a journalism fellowship which will take her to New York City. This play, a microcosm of the Latina immigrant experience, celebrates real women's bodies, the power of women, and the incredible bond that happens when women work together. --- from book's back cover

    The Pillars of the Community (1877) depicts a corrupt shipowner’s struggle to hide the sins of his past at the expense of another man’s reputation, while in The Wild Duck (1884) an idealist, believing he must tell the truth at any cost, destroys a family by exposing the lie behind his friend’s marriage. And Hedda Gabler (1890) portrays an unhappily married woman who is unable to break free from the conventional life she has created for herself, with tragic results for the entire family.

    Its fourteen-year-old heroine Wendla is killed by abortion pills. The young Moritz terrorized by the world around him and especially by his teachers shoots himself. The ending seems likely to be the suicide of Moritz's friend Melchior but in a confrontation with a mysterious stranger (the famous Masked Man) he finally manages to shed his illusions and face the consequences.