Beau, a pianist expat living in London, meets Rufus, an eccentric young lawyer, at the dawn of the internet dating revolution. After a life spent recovering from the disappointment and hurt of loving men in a world that refused to allow it, Beau is determined to keep his expectations low with Rufus. But Rufus comes from a new generation of gay men who believe happiness is as much their right as anyone else's, and what Beau assumed would be just another fling grows into one of the most surprising and defining relationships of his life. A remarkably moving, brilliantly funny love story, Gently Down the Stream is the latest play from acclaimed playwright Martin Sherman. The play reflects the triumphs and heartbreaks of the entire length of the gay rights movement, celebrating and mourning the ghosts of the men and women who led the way for equality, marriage and the right to dream. It received its world premiere at the Public Theatre, New York, on 14 March 2017 in a production starring Tony-award winner Harvey Fierstein.

The hero is a physicist who has been working on a military project and is brought up sharp with the pronouncement that he has acute leukemia and has only six months to live. The realization affects his relationship with his children and relatives, with the young woman who has fallen in love with him after his wife's death, and most importantly with his profession. Finally he decides to devote his remaining days to work with his son, who is a geneticist, in a world-wide effort to abolish further experiments in atomic weapons.

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

As outlined: "in the Vermont village of Greenfield Center, there is a genial, benevolent and greatly loved old physician who is very proud of his community. It is peopled with fine, wholesome folk, and it appears that Heaven rewards the civic virtue by seeing to it that mostly only those who are wicked at heart die. And the good Dr. Cook, who is willing to go out on sick calls at any hour of the day or night, is determined it should stay in that fortunate condition. When a young physician, who had known and loved Dr. Cook for years, returns to the village for a visit, he is delighted to see his venerable friend and benefactor again. Then a problem of medical ethics arises to haunt him. It may, he concedes, be excusable for a doctor to kill off incurable patients and the hopelessly deformed. But he thinks it is going too far to do away with disagreeable people who happen to be a blot on the fair community." And it is his attempt to make his mentor see reason on this point that brings on the gripping climax of the play, in which the two doctors, young and old, are pitted against each other in a scene of unforgettable, breath-stopping suspense and high drama.

The setting is the present-day Hamptons, that sun drenched stretch of expensive ocean frontage where the rich and privileged while away their summers. Two attractive college girls, Amy-Joy and Amy-Beth, are looking for a good time, and think they have found it in the person of Kip, a handsome preppie who is in flight from the lavish home he shares with his divorced, domineering and bitingly sophisticated mother and her narcissistic married lover. And romance does develop, if not quite in the manner anticipated, as the triangular affair of the young people is deftly counterpointed against the vapid relationship of the older couple. But while high comedy and sharp observation prevail, the play yields a lacerating portrait of a contemporary upper-middle-class that is, sadly and humorously, bored, self-indulgent and emotionally reckless -- Publisher's description.

An enthralling drama about the man who killed Hendrik Verwoerd, President of South Africa and the architect of South African apartheid. Written by the acclaimed actor and author of Year of the King. I.D. tells the true story of how Demetrios Tsafendas came to assassinate Verwoerd. Of mixed parentage, but classified as "White", Tsafendas is unable to marry the woman he loves because she is classified as "Coloured". Sickened by this injustice and goaded by his monstrous alter ego, Tsafendas stabs Verwoerd on the floor of the House in full view of his wife, his bodyguard and a chamber full of MPs. Antony Sher's play I.D. was first performed at the Almeida Theatre, London, in September 2003 with Sher in the role of Tsafendas. The play was inspired by the book A Mouthful of Glass by Henk van Woerden.

Includes the plays Theresa, A Dead Woman on Holiday and The Dybbuk Presented as a trilogy at the New End Theatre in 1995 before touring much of Europe, The Dybbuk pays homage to Anski’s great Russian classic. Set in a ghetto in Eastern Europe in 1942, it traces the final moments of five irreligious Jews. A Dead Woman on Holiday is a love story set during the Nuremberg trials. Theresa is based on secret research into the Channel Island occupation by the Nazis and the collaboration of the residents with the Holocaust. The play is still banned there.

"The Yiddish Queen Lear. New York in the late 1930s: a once-famous Yiddish actress gives her theatre business over to her three daughters. The Yiddish Queen Lear is a story of love, infedelity, betrayal and exile, which examines the moment when Jewish East European and American cultures mix, on the eve of the Holocaust. Both a free reworking of Shakespeare's King Lear and a homage to the lost world of Yiddish theatre, The Yiddish Queen Lear is a vibrant, funny and tragic study of the clashes and connections between two very different worlds. Woman In The Moon. Set in the United States, England and Germany, between 1920 and 2001, Woman In The Moon is a dream play inspired by both the legend of Faust and the testimonies of French, Austrian and German survivors from Camp Dora. It explores the connections between the US space programme, the V1 and V2 bombers, and the slave labour in the Third Reich"--Back cover.

THE STORY: A wide assortment of characters gather in the play's setting: a gangster-run New York nightclub. They include a brutal and power-mad labor leader; a female singer who thinks she loves him; an idealistic young attorney haunted by memories

"The play is a love story about a boy and a girl. The boy is a brilliant student, but he is poor. The girl is beautiful, intelligent, and rich. They want to marry, but the girl's father is opposed to the marriage because of the boy's poverty. So the boy turns to Jewish mystical philosophy called Kabbalah in the hope that it will enable him to win the girl. At first things appear to be going well for him, but suddenly they take a turn for the worse. Desperate, the boy turns to forbidden Kabbalah, and falls into the deepest depths. Will Kabbalah permit him to climb out of the depths and attain his goal?"--Amazon.com

THE STORY: As George Oppenheimer described: The Pringles, mother, father, engaged daughter and eighteen-year-old son, inhabit a comfortable house in a pleasant suburb of Detroit. The approaching nuptials of the daughter and an eligible young lawye

"This anti-musical is the result of intoxicatingly driving Alfred Jarry's 1896 merde-filled masterpiece Ubu Roi head-first into the internationally renowned antics, absurdities and obscenities of Toronto's mayor Rob Ford and his brother, Doug. Ubu Mayor tells the frolicsome tale of a mayor (Ubu) whose wife (Huhu) is having an affair with his older brother (Dudu). Ubu wants Huhu to love him again. Ubu wants what's best for the city. But both his love and political ideals are foiled by Dudu's machinations. Readers will enjoy the Fordish banter, presented in Seelig's iconoclastic dramatic style, and enjoy dipping into the music for such ridiculously poignant tunes as "B-b-b-bacon," "Etobicokaine," and "Plenty to Eat at Home."--Publisher's description.

By studying the diction of Romeo and Juliet , Robert O. Evans examines this, the most rhetorical of Shakespeare's plays, in terms of an Aristotelian critical category, which has been neglected in modern times. Inherent in his methodology is the assumption that Romeo and Juliet is best regarded as drama, not as pure poetry, though essentially it is the rhetorical brilliance of the poetry that is considered. Evans begins with an analysis of the important speeches of Romeo and Juliet and defines the controlling devices Shakespeare wove into them, especially oxymoron. He then follows with a discussion of the role of Friar Laurence, whom the author finds is a catalyst between the warring houses and between the lovers and the outer world of Verona. Evans concludes with an examination of Mercutio's famous Queen Mab speech, which, he points out, has an integral relationship to the structure of the tragedy as a whole. An analysis of the rhetorical devices of the play, Evans believes, demonstrates the thesis that the tragic effect of Romeo and Juliet is one of fulfillment, with the tragedy arising from the character of the protagonists rather than from circumstance.

Silent Planet is a love story about our love of stories, a passionate and poetic fable about the power of literature in a world in which the wrong words can get you killed. At the height of the Cold War, dissident writer Gavriil is detained in a Soviet mental prison as a punishment for protesting against the government. His only escape is the prison library, a treasure store of banned literature available to the patients, but off-limits to the prison staff. His interrogator, Yurchak, offers to protect him from torture in exchange for sharing the forbidden stories. Their agreement allows them both a kind of freedom - at the risk of their lives.

Fiction. Drama. "There are phone lines to the living and others for calling the dead. TELEPHONE by Ariana Reines is a network for riveting acts of speech, and silence, and listening. I saw the play and never forgot it. The audience was lit like a switchboard by its storms of courage and mystical love."--Rachel Kushner "TELEPHONE is an uncanny parcel of theater in which the wishes of humans to speak with the dead meet the limits or the aspirations of technology. A woman wrapped in language is deemed insane and the lonely pastness of our present walks around calling for itself. TELEPHONE is a whild and visionary piece of art that announced to me a poet who is always tearing the future open like a trapped animal--their eyes reflect us. Don't look! We mus. Bless you and love you Ariana for this great work."--Eileen Myles "I have been WAITING FOR THIS BOOK! When I saw it in the theater every word motion fell into magic stride utterly taxing the soul with its accuracy and mystery. The next night I was at the box office with a different friend and needed to return to my job is the only thing that kept me from the theater a third night. Examine for yourself the bewitching and sometimes misshapen communicative powers of life with the poetry goddess of the stage, Ariana Reines!-- CA Conrad "TELEPHONE, the inspired and utterly original new tone poem of a play, probes feelings with the sensitivity and detachment of a heart surgeon."--Ben Brantley, The New York Times

"You could do insane twenty-hour shifts in theatre. You could be mother of ten children. You could be toughest whore on the block. You contain all possibilities. You are the ultimate cliche of a young woman's incredible potential." "Promiscuous, pitiless and bored, six sexually entangled medical students restlessly wander in and out of a boarding house, cramming, drinking, taunting, spying. Freder sets about savagely experimenting with the young, pretty maid with half an eye on his former lover Desiree, a wild, disillusioned aristocrat. Petrell abandons Marie for the ruthless underdog Irene. Marie doesn't waste any time weeping - Desiree wants her." "Bourgeois existence or suicide. There are no other choices." "Vienna, 1923. A discontented post-war generation diagnose youth to be their sickness and do their best to destroy it." "Ferdinand Bruckner's Pains of Youth, in a version by Martin Crimp, premiered at the National Theatre, London, in November 2009." --Book Jacket.

THE STORY: Angela, a hard-bitten call-girl, is visited by Tom, a private detective of long acquaintance, who is convinced that she can supply information about a murder case which, some years earlier, resulted in a miscarriage of justice. As Tom plays on their former closeness, trying to draw out the facts he seeks, Angela withdraws behind a schizophrenic screen of multiple personalities ranging from a brazen creature named Leontyne, to a shrinking violet called Emily, to a haughty English-woman named Renata. Doggedly persistent, Tom does, in the end, break through the fears which have driven Angela to hide the truth within herself. With chilling intensity she pours through a tale of duplicity and corruption and recounts how an innocent man ended up paying for the crimes of others. As the play ends Tom offers to drive Angela to her next assignation-relieved that his quest has ended but, at the same time, disturbed by the knowledge that his worst fears have been borne out.

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