"When a small-time football club brings on a promising new recruit, it seems the team may finally step into the spotlight. But as the star rookie's future proves lucrative for those around him, he's thrown into a battle of principles between the team's money-hungry manager and its caretaker still pining for the glory days. Both a love letter to the sport and an examination of its less savory traditions, The Red Lion delves behind the scenes of Britain's most beloved pastime."--Back cover.

"Hamlet and Ophelia express the infinite variety of their passion in a work which takes the form of an epistolary play in verse. Steven Berkoff's startlingly original drama charts the lovers' story beneath the surface of Shakespeare's play. With a muscularity of language tempered with tenderness, Berkoff's play is shot through with images of courtly love, sexual desire and intimations of future tragedy. The chill of the ending perfectly offsets the preceding violent heat in what is another unique piece of work from the individual talent that is Steven Berkoff."--Publisher description.

THE STORY: In the conference room of a four-power zone in Germany, four Colo-nels, representing their respective countries, The United States, England, France, and Russia, are apparently getting nowhere with their negotiations except deeper into a

This latest film from the Oscar-nominated screenwriter of About a Boy is a dramatic comedy about the relationship between a 51-year-old sales executive and his new, 26-year-old boss. Both men are going through turmoil at home. The elder one, Dan Foreman (Dennis Quaid), already has two teenage daughters, which makes him liable to shock at being told his wife is pregnant. What with college fees, the mortgage and a new baby, Dan can't afford to lose his job. Meanwhile his upstart new boss, Carter Duryea (Topher Grace), is dumped by his wife just as he gets his promotion. He then falls in love with Dan's elder daughter (played by Scarlett Johansson)...In Good Company allows Paul Weitz plenty of scope for the droll appreciation of life's ironies which he showed to such good effect in About a Boy. The NHB Shooting Script is the official tie-in with this major release and Oscar-contender from Universal Pictures. As well as the full screenplay, it contains Paul Weitz's introduction and notes by the film-makers, plus sixteen stills, and complete cast and crew credits.

Jon Robin Baitz has been praised as one of America's foremost playwrights on themes of conscience. Now from the author of The Substance of Fire comes an absorbing new play about power and money and the ruinous effects it can have on friendship, love, marriage, and ultimately oneself. In this modern tragedy set in urban New York City, Wall Street powerhouse Sandy Sonenberg finds his personal and professional life threatened by the unraveling secrets of his past. After burying his true sexual identity, a lethal affair with a young male associate forces Sonenberg to confront a lifetime of unrequited love and betrayal.

"Four female panellists face off in a wild, whip-smart televised debate about the intersection of religion and misogyny. On one side, there's Maryam, a progressive Muslim lawyer, and Yehudit, an Orthodox Jewish spiritual leader. The other has Liz, a lesbian antitheist pundit, and Margaret, an excommunicated nun. The debaters wrestle with themselves and with each other: Can you be a feminist and believe in religion? What can or can't be forgiven? Why do we have faith to begin with? Between the arguments, each of the debaters return to a seminal and secret moment in their past that represents a crisis of faith, leading the debate to become more and more personally charged, until it climaxes in an epic battle, culminating in a possible leap of faith. Unholy delves into the biblical struggles that tear us apart and makes us who we are. It's about having the courage to take the leap in life and into love. What is more holy than that?"--

Drama / 2m 3f / Simple SetCome Back Come Back Wherever You Are a play by the widely-acclaimed Tony Award-winning theatre legend Arthur Laurents is an intimate emotional drama about a cabaret singer coping with the devastating death of her husband while trying to navigate her overbearing controlling mother-in-law and the aggressive advances of a sexually persistent handsome new suitor.Recently widowed Sara must comes to terms with her husband's death but is haunted by visions of him. Her fixation on his posthumous messages dampens her historically lukewarm relationship with Marion her therapist mother-in-law who is disturbingly pragmatic about the passing of her son. Sara's grief is also altered by Michelle her under-appreciated sister-in-law who is struggling both with her sexual identity and her relationship to her deceased brother. All is complicated by Dougal a picture framer who is struck by the earnest Sara.Come Back Come Back Wherever You Are is a gripping drama about grief and the ability of a family to cope with loss. But at its heart it is a play about love. It was part of the 2009 season at the George Street Playhouse."The prolific Laurents has given his play a crisp staging cramming the 90-minute wake with enough heartbreak and ardor to fill a grand opera." - Variety

Genre: Dramatic Comedy Characters: 3 males, 3 females Scenery: Interior Maureen Stapleton won Broadway's Tony Award as Best Actress for the role of Evy Meara, a popular singer who has hit the skids. After a short stay in rehab, her best friend age-defying Toby, her daughter Polly, and Jimmy Perry, a gay actor try to help her adjust to sobriety with a jolly birthday party. Enter Lou Tanner, a former lover, who ends up giving her a black eye. The party is a wash out, the "gingerb

Blonde Poison is based on the true story of a Jewish woman during World War II who betrayed up to 3,000 fellow Jews. Gail Louw's powerful play examines the motivation of evil. Stella Goldschlag was living illegally in war-torn Berlin when she herself was betrayed and tortured. When offered the chance of saving herself and her parents from the death camps, she agreed to be a 'Greifer' for the Gestapo and inform on Jews in hiding. She was extraordinarily successful in this and her activities increased after her parents had finally been deported. The vast dimensions of Stella's character range from tortured victim to cruel killer, from loving daughter to betrayer of friends, from gentle lover to depraved promiscuity. She was given the name 'Blonde Poison' by the Gestapo who revelled in her treachery. Decades after the war Stella agrees to be interviewed by a well-respected journalist – her last chance for redemption. Can she ever be released from her past? Winner of an Argus Angel Award for artistic excellence (Brighton Festival 2012). Winner of the San Francisco Best Fringe Award 2016.

America's comic mastermind has updated his classic comedy The Odd Couple, bringing the trials and tribulations of Felix Unger and Oscar Madison to the present day. Those who love the original version will laugh all over again at the classic characters in an all-new setting.

"The raw and untold secrets of pregnancy, miscarriage, childbirth, and mothering are revealed in this true story of motherhood for the twenty-first century. A playwright writes an exposé of modern motherhood full of her own darkly funny confessions and taboo-breaking truths. One of her real-life friends, an actress, performs the piece, and through it her own experiences of motherhood start to surface. These mothers are not the butts of jokes, the villains, or the perfect angels of a household. This empowered and relatable play was written collaboratively between award-winning theatre artists Hannah Moscovitch, Maev Beaty, and Ann-Marie Kerr, with co-creator Marinda de Beer. Uplifting and full of love, Secret Life of a Mother is a generous and powerful act of truth-telling for anyone who has thought about, been, loved, known--or come from--a mother."--

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.

THE STORY: A husband goes to his office politely asking if his wife's lover will be coming today. She murmurs 'Mmmm,' and suggests he not return before six. In order not to return before six he will no doubt visit a prostitute. A competition is glossily established. When the lover does come, he is the husband, which is not surprising. The kind of sex-play follows that suggests this is the necessary titillation, and the necessary release ofhostility, between a man who means to be master of the house and a wife who means to be both wife and mistress, whatever the house may be. But there is a flaw in the accommodation. The lover is weary of his mistress; she is no longer particularly appetizing. By the time he returns, as husband, in the evening, his wife is still disturbed by the news. The performance of the afternoon has begun to carry over into the reality (or pretense) of the evening. Suddenly the husband is not quite husband, diffident over his drink. He is blurring into the lover, at the wrong hour, and angrily. The wife must seduce him now as wife, not as mistress. She does. -NY Herald-Tribune.

A casting session for a play about a love affair goes awry. A talk-back with a theater audience becomes the occasion for a life-altering choice. A couple moving in together finds that greater intimacy can be a mixed blessing when even the surface of their dialogue is stripped away. Metatheatrical antics abound in Itamar Moses’s Love/Stories (or, but you will get used to it), five one-act meditations on modern love and on the act of telling stories — in which a variety of inventive devices stresses the ineradicable gap between art and experience. Reminiscent of the works of both Samuel Beckett and David Foster Wallace in their verbal dexterity, humor, and generosity, the plays collected in Love/Stories constitute an important addition to the contemporary American theater by one of our most exciting young playwrights.

Written in the aftermath of World War II, Love Goes to Press opened in London in 1946 and on Broadway in 1947. At the time a relief for the survivors of Blitzkrieg and ration cards, today it is a devilishly entertaining portrayal of the Battle of the Sexes. In this romantic farce, set in a press camp on the Italian front in 1944, two women war correspondents—smart, sexy, and famous for scooping their male competitors—struggle to balance their professional lives with their love lives. The American literary tradition is replete with stories of “men without women,” but in Love Goes to Press Martha Gellhorn and Virginia Cowles have created a world of “women without men.” Complications ensue when one of our heroines unexpectedly encounters her ex-husband, a famous writer whom she had divorced on the grounds of plagiarism. This Bison Books edition features a preface and an updated afterword by Sandra Spanier discussing her recent archival discoveries, her experience of working with Gellhorn to publish the play for the first time, and the strong resemblance of the leading man to Gellhorn’s ex-husband, Ernest Hemingway.

THE STORY: Four Manhattan yuppies strike up a friendship in a chic uptown restaurant after a bag lady in-volves them in an altercation. A month later, the four self-involved Manhattanites (three men and one woman), having fallen instantly in love w

"1893. After a harrowing journey, recent college graduate Leon Tolinchinsky arrives in Kulyenchikov, Ukraine, to tutor Sophia Zubritsky, 19. Her parents, Nickolai and Leyna, inform him the village is cursed, rendering every resident as dumb as a bag of rocks. Leon must educate Sofia in 24 hours or fall victim to the curse himself, though teaching her, her parents, or anyone else about anything is just about impossible. To complicate matters, Leon and Sofia fall in love, infuriating Count Gregor, her long time suitor. Leon risks everything to break the curse and rescue the village."--

This elegiac memory play delightfully recalls the last time the Hines family gathered at their retreat in the Poconos. The summer of 1953 brings romantic entanglements that coalesce one idyllic afternoon; Burt Hines, mid-50's and convalescing from a second heart attack, eagerly anticipates the arrival of the ex-wife he still loves. Daughter Josie has just broken her engagement to a Harvard law student and pines for his buddy Ray, an aspiring writer with whom she once had a brief fling. Clemma, the black housekeeper at the center of the action casts a astute eye on the complications while facing with her own unresolved past.

In the run up to Christmas, three families are placed into cramped temporary accommodation. A middle-aged man and his elderly mum, a young family with a baby on the way, a newly arrived woman from Sudan. Strangers. Forced together. No space is personal. In this play by Alexander Zeldin, written through a devising process, the audience are invited to bear witness to an intimate story of family love for our times. Love received its world premiere at the National Theatre, London, in the Dorfman Theatre, on 6 December 2016.

"Oren Safdie's GRATITUDE is an unflinchingly dark (and darkly funny) exploration of sexual power-play... [He] is clearly not a playwright to gingerly approach controversial issues... The provocations in the play are very much in line with those of Neil LaBute at his most caustic... You might have some strong post-show words for Safdie. What you won't be able to say is that he doesn't know how to put together a bracingly provocative and ferociously entertaining 75 minutes of theatre." Jim Burke, Montreal Gazette "The 75-minute play begins rather innocently, but dissolves into so much sexual tension and human desperation with a great deal of simplicity and humour. The acting is riveting, and brings out issues that teens handle amongst themselves within the sanctity of a private school with a great deal of force and authenticity." Stuart Nulman, Montreal Times "GRATITUDE offers a topical look at high school lust and longing.... The scenes are well-paced, engaging, funny." Rhiannon Collett, The Globe and Mail "Montreal-born playwright Oren Safdie has hit the proverbial ball out of the court with his new play GRATITUDE. Safdie's play captures youthful stirrings with all their passions and insecurities to devastating effect. GRATITUDE is a brave, provocative story exploring the realities around sex, love, consent, duty, gender roles and rebellion." Mike Cohen, The Suburban