Four Plays


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Four Plays


Book Description

THE STORIES: ST NICHOLAS finds an aging jaded theatre critic recounting his obsession with a young actress, and how that obsession leads to a journey into a macabre world of vampires from which he almost can't escape. (1 man.) In THIS LIME TREE BOW




Priestley Plays Four


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Two little known Priestley plays, which, while they are quite different, have important features in common. The 31st of June is a comedy set partly in an advertising agency and partly in a medieval castle; Jenny Villiers is a serious play set backstage in an old provincial theatre. But both exploit elements of Time. In the 31st of June scenes switch between modern times and the middle ages, while characters move between both. There are kings, company bosses, princesses, fashion models, dwarves and two rival magicians. causing confusion and romance. Jenny Villiers examines life in the Theatre. The doubts of the present are confronted by players from the past, and a jaded playwright recovers his faith in the Theatre. Both plays were performed on the stage, but later rewritten and published as novels.




Richard Bean: Plays Four


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The new collection from Richard Bean, one of Britain’s leading playwrights and the fastest-selling playwright in the history of the West End. This volume features an introduction by Mark Lawson and includes the plays: The Heretic, The Big Fellah and England People Very Nice.




Testimonies


Book Description

The first major collection by playwright Emily Mann contains four powerful docudramas. Based on extensive interviews of real people's experiences, these plays explore various moral issues and questions that still resonate in America today. Annulla: An Autobiography is a solo piece featuring the reflections of an elderly Jewish woman who survived the Holocaust by pretending to by Aryan. Jerry Talmer of the New York Post calls Annulla "one bangup 90 minutes of theatre...I don't know when I've been stimulated as much by anything on the living stage." Still Life is composed of interviews with a Vietnam War veteran with PTSD, the pregnant wife he physically and emotionally abuses, and the mistress who finds herself entranced by his passion and violence. This Obie Award-winning play is "a powerful affair, full of passion and viability...Mann offers no easy answers or pat solutions, she simply invites us into these three characters' lives" (Los Angeles Times). Execution of Justice follows the trial of the former policeman who shot San Francisco Mayor George Moscone and openly gay City Supervisor Harvey Milk in 1979. Called "thought-provoking...a taut courtroom drama" (New York Times), Execution of Justice "is theatre reasserting its claim on the country's moral conscience" (Washington Post). Greensboro: A Requiem is "a particularly all-American tragedy" (New York Times) as Mann interviews those involved in the largely unreported 1979 massacre of unarmed demonstrators by members of the Ku Klux Klan, Greensboro police force, and FBI. Forbes calls Greensboro "a provocation, a potent expos of the 'less-than-human thing' which fuels the politics of hate and injustice in America."




Four Restoration Libertine Plays


Book Description

Thomas Shadwell, The Libertine * George Etherege, The Man of Mode * Thomas Durfey, A Fond Husband * Thomas Otway, Friendship in Fashion These four plays in the Oxford English Drama series capture the range of responses to the fashionable and daring libertine movement in the second half of the seventeenth century. A Fond Husband and Friendship in Fashion are lesser-known comic gems of the Restoration stage; The Man of Mode is Etherege's masterpiece, and The Libertine is Shadwell's experimental and dark version of the Don Juan story. The texts are freshly edited using modern spelling. There is a critical introduction, wide-ranging annotation, and an informative bibliography which together illuminate the plays' cultural context and theatrical potential for reader and performer alike. 'The series should shape the canon in a number of significant areas. A splendid and imaginative project.' Professor Anne Barton, Cambridge University




Ben Jonson: Four Plays


Book Description

Bringing together four of the most popular and widely studied of Ben Jonson's plays, this anthology focuses on the city comedies for which Jonson is best known today: The Alchemist (edited by Elizabeth Cook), Volpone (edited by Robert N. Watson), Bartholmew Fair (edited by G.R. Hibbard) and Epicoene or The Silent Woman (edited by Roger Holdsworth). Today Jonson's works are widely considered to be amongst the best produced in his period. The new introduction by Robert N. Watson explores the plays in the context of early modern theatre, culture and politics, as well as providing a guide to the language, characters and themes. On-page commentary notes gloss the text in greater detail, making this the ideal edition for study and classroom use.




Four Old Plays


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Four Plays


Book Description

This anthology contains four of the Pulitzer Prize-winning playwright's most brilliant works: Summer and Smoke, Orpheus Descending, Suddenly Last Summer and Period of Adjustment. "The innocent and the damned, the lonely and the frustrated, the hopeful and the hopeless . . . (Williams) brings them all into focus with an earthy, irreverently comic passion".--Newsweek.




Four Short Plays


Book Description

Example in this ebook THE STORY OF RACHEL. A Play in One Act. Characters: Captain William Carteret, R.N. (about 48). Rachel (his wife, 28). A maid—not a speaking part—who only brings in a letter. Rachel and Carteret sitting in their comfortable drawing room, Rachel in armchair R.C. near a table, cutting a book with a paper-knife. Carteret on small sofa, L.C., with a little table near him on which is an ash-tray. He is smoking, and reading the "Pall Mall Gazette." Rachel [continuing conversation as the curtain goes up]. Don't you agree with what I'm saying? I'm sure men are like that. Will, do you mean to say you don't agree? Carteret [absently, looking up and down columns of paper]. Yes, I daresay. Rachel. I know quite well what it means when a man says in that way [imitating his tone]—'Yes, I daresay,' and goes on reading. It means you're not thinking of what I'm saying—you're thinking of nothing but the paper. Carteret [still looking up and down the columns]. Well, there are very interesting things in the paper. Rachel. Of course there are. And it's still more interesting trying to guess which of them are true. But still it is rather boring that you should be reading the newspaper while I'm talking. Carteret. Oh? I thought you were talking while I was reading the newspaper. Rachel. That is a one-sided view, I must say. [Carteret smiles, shakes the ash off his cigarette, and goes on reading without speaking]. Rachel. It is a pity you don't enjoy my society, isn't it? Carteret [smiling]. A great pity. Rachel. Will, I suppose that you like me as I am? Carteret. Absolutely and entirely. Even when you talk unceasingly when I'm having a quiet read and smoke before dressing for dinner. Rachel. Anyhow, you'd have to be interrupted soon, because you must go up when the clock strikes, and see Mary in bed. Carteret [laughing happily]. Yes, the little monkey. I should never hear the end of it if I didn't. She's a tremendous tyrant, isn't she. Rachel. Yes. I wonder what she'll be like when she grows up. Carteret [smiling]. Like her mother, I daresay. Apt to talk when her husband's reading. Rachel. To-night I want to talk. Do listen, Will—just this once! [Carteret smiles and puts his paper down on his knee]. Carteret. Just this once, if you're sure it won't happen again. Rachel. I was thinking about what men are like, and what women are like. Carteret. You see, men don't want to be taking their souls to pieces perpetually as women do, to see what they're made of. Rachel. But it is so interesting to do it, even if one's afraid of what one finds there. Carteret. Afraid! Rachel. Oh, yes. There are times when I'm thinking of things, when I'm all over the place. I can't help it. Carteret. All over the place! Yes, that's quite true. You are. Rachel. Well, as I said, I've been thinking—and I see that in heaps of ways men and women are so different. Carteret. That's a very profound remark. Don't get beyond my depth, Rachel, pray. Rachel. Will, you horrid old thing! But I don't care for your laughing at me. I'll go on. Men are so simple—— Carteret. And women so complicated?… Rachel. Sometimes. Men take things and people for granted so much more than women do—sailors I do believe especially, are made like that. You take things for granted; you like everybody; you believe in everybody. Carteret. Well, my experience has shewn me that you come fewer croppers in life if you believe in people, than if you're suspicious of them. It may be an illusion, but that's my experience. Rachel. I wonder?… And there is another great difference. Women—so many women—are cowards; afraid, always afraid. Carteret. Afraid of what, you foolish creature? To be continue in this ebook