"The archetypal student-teacher romance is cleverly turned on its head for the post-#MeToo era in this striking new play by the acclaimed author of What a Young Wife Ought to Know and Bunny. Jon, a star professor and author, is racked with self-loathing after his third marriage crumbles around him when he finds himself admiring a student--a girl in a red coat. The girl, nineteen-year-old Annie, is a big fan of his work, and also happens to live down the street. From their doorways to his office to hotel rooms, their mutual admiration and sexual tension escalates under Jon's control to a surprising conclusion that will leave you wanting to go back and question your perceptions of power as soon as you finish."--

By turns sexy, comic and horrifying, this new stage version of The Castle tells the story of a man who decides to fight a monstrous bureaucracy rather than give in to it, attempting and failing to gain entrance to a castle where he has been summoned to work. In its surreal depiction of an all-powerful organization (which some, including Thomas Mann, have called a metaphor for God), The Castle is a black comedy for our times.

Harlan Ellison's never-before-published 238-page, unproduced screenplay adaptation of Norman Spinrad's Hugo Award-nominated novel BUG JACK BARRON that was to have been directed by Costa-Gavras (Z) for Universal Pictures in the early 1980s. Respected film critic and historian LEONARD MALTIN has written an insightful introduction with input from Ellison on why-after nearly 30 years-the film has still never been made. This paperback book includes Ellison's original casting suggestions from 1983 so you can "see the movie in your mind" with the faces Ellison imagined for each role. This screenplay was reproduced from Harlan Ellison's file copy. The pages originated on a manual typewriter, hence the idiosyncrasies that set them apart from the sanitized, word-processed pages of today.

No contemporary French feminist has made a bigger impact in America than Häl_ne Cixous. Brilliant, bold, and combative, author of numerous novels and a gargantuan study of James Joyce, and sponsor of a series of notorious seminars at the Universityøof Paris about women's writing, she has exploited the roles of femme fatale and maitresse d'education in a career that has been spectacularly defiant and productive. Sihanouk is one of Cixous's most ambitious projects: the dramatic portrayal of the conflicts between old and new, East and West, North and South, religion and politics. At its center is the figure of Norodom Sihanouk. Vain when a prince, as king Sihanouk discovered his responsibility to his country and came to embody Cambodia. He used every means to keep his country growing, healthy, and out of the wars of Southeast Asia that consumed Laos and Vietnam. Cixous recognized in Sihanouk a historical figure as fascinating as a tragic king in Shakespeare: a man of uncommon intelligence on whom his country's history pivoted, a man placed by fate into a world of bad choices and surrounded by powerful and relentless antagonists. But Sihanouk gave Cixous something more: a king who is indisputably modern, who has read and loved Shakespeare, and whose story continues. First published in 1985, the play begins with Sihanouk's abdication in 1955 and ends with his arrest by the Khmer Rouge two decades later. The destiny of an entire country unfolds through the fifty characters who appear on stage.

For much of her career, Elfriede Jelinek has been maligned in the press for both her unrelenting critique of Austrian complicity in the Holocaust and her provocative deconstructions of pornography. Despite this, her central role in shaping contemporary literature was finally recognized in 2004 with the award of the Nobel Prize in Literature. The committee acknowledged Jelinek's groundbreaking work that offers a "musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power." Although she is an internationally recognized playwright, Jelinek's work is difficult to find in English, which makes this new volume, which includes Rechnitz: The Exterminating Angel and The Merchant's Contracts , all the more valuable. In Rechnitz , a chorus of messengers reports on the circumstances of the massacre of 180 Jews, an actual historical event that took place near the Austrian/Hungarian border town of Rechnitz. More than a docu-drama, this work explores the very transmission of historic memory and has been called Jelinek's best performance text to date. In The Merchant's Contracts , Jelinek brings us a comedy of economics, where the babble and media spin of spectators leave small investors alienated and bearing the brunt of the economic crisis. In the age of the global economy, Jelinek turns the story of a merchant of Vienna into a universal comedy of errors, making this her most accessible work. Along with an extensive introduction by the translator that both contextualizes and analyzes the two brilliant texts, a DVD of performances of both plays accompanies this volume. Available for the first time in English, this is a collection that testifies to the power and universality of Jelinek's work.

A Canadian drama classic, these two plays--one dealing with racism, the other with alcoholism--explore some of the most pressing issues facing teenagers today. Skin introduces us to a group of Canadian teenagers who are coming of age in the late 1980s. Faced with racial discrimination, Phiroza, Jennifer, and Tuan must navigate the choppy waters of high school, each confronting his or her own set of challenges. Ranging from academic difficulties, to budding relationships, to the trials of adapting to a foreign language and culture, the three share their stories of struggle, survival, and defiance of negative expectations and racist attitudes. In Liars , Lenny is at the top of her class. Jace seemingly couldn't care less. By all appearances these two classmates are polar opposites, but despite all their differences they are inexplicably drawn towards one another. When it is revealed that each has been trying to hide the same dark secret--that they share a home with an alcoholic parent--each decides to take action and confront the demon they call "Mom" or "Dad." Dennis Foon was co-founder of Vancouver's acclaimed Green Thumb Theatre and served as artistic director for twelve years. As a playwright, his body of plays continues to be produced internationally in numerous languages and he has received the British Theatre Award, two Chalmers Canadian Play Awards, the Jesse Richardson Career Achievement Award, and the International Arts for Young Audiences Award. In 2007 he was made a lifetime member of the Playwrights Guild of Canada for his "outstanding contribution to Canadian Playwriting and Theatre." His play Kindness received the 2009 AATE Distinguished Play Award. His newest play, Scar Tissue , premiered at the Arts Club Theatre. He's won a Gemini, two WGC Awards, three Leos, and a Robert W. Wagner Award for his screenplays, which include Little Criminals , White Lies , Torso , and Terry . He is also the co-writer of Long Life, Happiness and Prosperity and A Shine of Rainbows , which won a Leo and received a Genie Nomination for Best Adapted Screenplay. He wrote the screenplay for the feature Life Above All , Prix Fran'ois Chalais winner at the 2010 Cannes Film Festival, 2011 Academy Award Shortlist for Best Foreign Language Film, and a Leo winner for Best Screenplay. His novel Skud (Groundwood Books, 2003) received a BC Book Prize, and his sci-fi/fantasy trilogy, The Longlight Legacy , has been published in five languages.

In POT BOUILLE, the well-known French novelist Émile Zola and dramatist William Busnach combine their talents to unmask the hypocrisy that hides behind the façade of a respectable and fashionable Parisian apartment house. The Josserands are struggling to make ends meet, and at the same time to marry off their two daughters to prosperous businessmen. At the heart of this broken family is a weak husband and domineering, spendthrift wife, who between them create two willful children who are doomed to unhappy lives. The sly and adulterous Berthe seduces a shop owner into marriage, and Hortense eventually runs off with the man she loves--knowing he'll never marry her. The result is an unflattering portrayal of a corrupt, immoral society at the heart of French life in the late nineteenth century. Based on one of the great novels of modern literature!

High King Agamemnon faces the most crushing dilemma of his life. Kill his beloved eldest daughter? Or forfeit victory in the Trojan War? A father’s secret plot clashes with a girl’s romantic dreams in this chilling classic play from Ancient Greece. The most powerful dramatic script by EURIPIDES springs to life anew in a fresh adaptation by writer EDWARD EINHORN (Paradox in Oz, Fractions in Disguise, The Marriage of Alice B. Toklas by Gertrude Stein) with AGE OF BRONZE art by Eisner Award-winning ERIC SHANOWER (AGE OF BRONZE, Oz Graphic Novels, Little Nemo: Return to Slumberland).

Full Length, Comedy Characters: 2 male, 2 female Interior Set In her beach house in the Hamptons, celebrated writer Rose Stern stands at a crossroads: she hasn't written anything in years and money is getting short. Her former lover, literary lion Walsh McLaren, offers her-from beyond the grave-an opportunity to regain her celebrity and gross millions. It's not going to be easy and a "ghost" writer is required setting in motion another touching and unpredictable roma

What is modern in modern drama? What defines it, unmistakably, as being of our time? This quality if the subject of John Peter's inquiry.For Peter, Beckett's Waiting for Godot makes such a radical break with dramatic tradition that it prompts the question: Is this play the single most important event in the theater since Aeschylus? Or is it the fulfillment of forces at work long before Beckett wrote it? Peter shows how Beckett's work represents a change in the very subject matter of drama, a fundamental revision of concepts of character, plot, and meaning, which in turn requires a new way of responding to drama. Where plays have traditionally engaged audiences in critical and moral dialogue, theater like Beckett's, according to Peter, is closed to questioning; it presents a vision of the world which can only be accepted or rejected. As such, it not only signals a new form of drama, but also posits a fundamentally changed audience.Peter views this change—essentially, a change of mind—in its wider context. The times and the thought that contribute to the modern imagination are represented here by novels, paintings, and music—works by Wagner, Kafka, Proust, Picasso, and Braque—as well as plays. Peter shows how the depiction of the world by these artists echoes—and is echoed by—the work of modern thinkers such as Schopenhauer, Nietzsche, and Freud.Vladimir's Carrot will provoke and stimulate readers who find themselves either lost or perfectly at home in "modern" culture.

In this interlocking prose web of first-person testimony, novelist, poet, and playwright Ariel Dorfman relates the struggles of fifty human rights activists hailing from more than forty countries. Manifesto for Another World features the words and struggles of internationally celebrated activists including Vaclav Havel, Baltasar Garzón, Helen Prejean, and Marian Wright Edelman; and Nobel Prize Laureates the Dalai Lama, Desmond Tutu, Elie Wiesel, Oscar Arias Sánchez, Rigoberta Menchú Tum, José Ramos-Horta, and Bobby Muller. Equally moving are the stories of more than thirty others, unknown and (as yet) unsung beyond their national boundaries: Kailash Satyarthi, who has spent a lifetime working to free tens of thousands of victims of child labor in his native India, and Juliana Dogbadzi, who was sold into sexual slavery by her parents at age twelve, escaped after seventeen degrading years, and now is devoted to the liberation of African girls bound in the same terror. From their ranging voices Dorfman culls the message: freedom from persecution, and freedom of opportunity, for all. Manifesto for Another World is both a political testament and a work of art.

A compulsive, gripping and intense play from the author of Death and the Maiden. A censor discovers that the subversive novel he is about to ban is describing his own life and hinting that a terrible fate awaits his son. He must hunt down the author before it comes true... Ariel Dorfman's play Reader was first performed at the Traverse Theatre, Edinburgh, in July 1995.

"A way to live" is a black comedy about revenge when there's nothing more to lose. "Where there's a Will" is a film about a struggling country jazz band that receives a helping hand from long dead musicians. "The third player" tells the tale of an Australian country football team which discovers a novel way to improve their performance.

Producer Theo has assembled a crack transatlantic team to launch the new musical Whatever Happened to Tomorrow? Liz, a successful British novelist, has written the book, her compatriot Mike the lyrics, legendary Broadway composer Bebe Kaiser has created the score and the staging rests in the capable hands of hit US director Stacey. What could possibly go wrong?2 women, 5 men