Loaves and Fishes
A worldly, ambitious parson courts a wealthy widow and schemes for a bishopric, ultimately winning a pretty heiress.
Plays
8285 shows
Clear filtersLobby Hero
During a night in the lobby of a middle-income Manhattan apartment building, security guard Jeff, his supervisor William, police officer Dawn, and her senior partner Bill become entangled in questions of loyalty and ethical conduct. The play examines how good intentions can be undermined by desire and dishonesty.
Lobster Alice
In 1946 at Walt Disney Studios, reserved animator John Finch is assigned to work with Salvador Dalí, whose surrealist ideas upend the studio’s routine. Finch’s assistant Alice is drawn to Dalí’s imagination, prompting Finch and Alice to confront their feelings and the gap between artistic fantasy and daily life.
Locrine
In this revenge tragedy about legendary Trojan founders of Britain, Locrine marries Guendoline but falls in love with the captured Scythian queen Estrild. After hiding the affair for seven years, he makes it public when Guendoline's father dies. Guendoline and her brother lead forces against Locrine; defeated, Locrine and Estrild kill themselves, and their daughter Sabren drowns herself.
Loggerheads
Loggerheads was a 1925 Broadway three-act comedy written by Ralph Cullinan and produced by Barry Macollum and Whitford Kane with Macollum also playing Padna Collins and Kane playing Corny Halpin. It ran for 72 performances from February 9, 1925 to April 1925 at the Cherry Lane Theatre. Actress Gail Kane was not related to Whitford Kane. Time Magazine—from a February 23, 1925 article—says this about the play: "An Irish sea-coast comedy, with a sob here and there, slipped quietly into the tiny Cherry Lane Theatre in Greenwich Village and was welcomed quietly. In the main, it was an honest play, possessed one excellent performance, and was interesting to the audience scarcely at all. The story told of a feud patched up by the fisherman's daughter who wanted to be a nun. Amid the rolling of exceedingly old country “r's,” she married her mother off to the son of the hated opposition. Joanna Roos (as the daughter) gave the performance."
Lolita
A narrator comments on linked scenes tracing Humbert Humbert’s exploitation of Dolores Haze and their travels across America. Albee’s adaptation places the telling of their story alongside the events being portrayed.
Lombardi
During a week in the 1965 NFL season, Look reporter Michael McCormick investigates what makes Packers coach Vince Lombardi successful. When the players refuse interviews, McCormick turns to Lombardi’s wife Marie, learning about the coach’s ambition, family’s move to Green Bay and relationships with his players. Their conflict turns into mutual respect as the Packers win and McCormick chooses independence.
London Assurance
Charles Courtly and his companion Dazzle travel to Oak Hall, where Charles disguises himself as Augustus Hamilton and courts Grace, who is promised to his father, Sir Harcourt. Sir Harcourt falls for the spirited Lady Gay, but attempted elopements and deceptions are interrupted; after Charles’s creditors catch up with him, Sir Harcourt accepts his son’s marriage to Grace.
London Calling
The comedy centres on two brothers Willie and George Craft, whose American mother and British father long have been divorced. Willie Craft has been raised in America by his mother, George by his father in London, England. When George appears for a surprise visit to Manhattan, he and Willie soon fall for a designing woman, Anne Hunter. Their mother decides she is not suitable and prevents her from seeing them, and in the process tries reconciling with their father.
London Life
London Life is a 1924 play by Arnold Bennett and Edward Knoblock. It ran for 36 performances at the Drury Lane Theatre in London's West End. It was produced by Basil Dean. The large cast included Clifford Mollison, Henry Ainley, Gordon Harker, Ian Hunter, Edmund Breon, Mary Jerrold and Olive Sloane. It marked the West End debut of Benita Hume, appearing in a small role.
London Suite
Four one-act comedies unfold in a London hotel: a novelist confronts his manager over stolen money; a daughter arranges a date for her reluctant mother; a divorced actress and her former husband revisit their relationship; and an American couple's Wimbledon trip unravels after lost tickets and an injury.
London Wall
London Wall is a play by the British writer John Van Druten that was first staged in 1931. It based on the romantic entanglements of the staff at a firm of British solicitors in London. It premiered in May 1931 and ran for 170 performances at the Duke of York's Theatre in the West End. The play remained largely forgotten until it was rediscovered by the Finborough Theatre with a production in 2013 and a subsequent West End adaptation at the St James Theatre. In 2014 the play received its American premiere when it was staged by Mint Theater Company in New York City; this production was filmed and later broadcast as part of the WNET Off-Broadway Series, Theater Close Up.
London's Love to Prince Henry
For Prince Henry's investiture as Prince of Wales, an allegorical river pageant travels from Chelsea to Whitehall. Corinea, Queen of Cornwall, declares London's love for the Prince, who then meets Amphion, Genius of Wales; the festivities also stage a mock naval battle with a Turkish pirate ship and fireworks.
Lonely Planet
In a small map shop, Jody retreats from a community devastated by AIDS while his friend Carl fills the room with chairs taken from homes of people who have died. The chairs force Jody to confront the losses and rejoin the world; later, Carl's own chair appears.
Long Day's Journey into Night
The play takes place on a single day in August 1912. The setting is Monte Cristo Cottage, the seaside home of the Tyrones in Connecticut. The four main characters are the semi-autobiographical representations of O'Neill, his older brother, and their parents, including his father, actor James O'Neill. The play portrays a family struggling to grapple with the realities and consequences of each member's failings. The parents and two sons blame and resent each other for various reasons; bitterness and jealousy serve as proxies for ultimately failed attempts at tenderness and compassion. The family's enduring emotional and psychological stress is fueled by their shared self-analysis, combined with articulate honesty. The story deals with addiction, unfulfilled dreams, moral flaws, and the struggle of family relationships.
Longing
At a declining country estate, Moscow lawyer Kolia tries to rescue his indebted alcoholic friend Sergei, while Misail, an architect’s son who wants to paint roofs, is drawn into marriage with a wealthy man’s daughter. Their intertwined stories turn on frustrated desires, commitment and regret.
Longxugou
Four poor households living beside Beijing’s filthy Longxugou ditch endure poverty, flood damage, official extortion and local violence. After the ditch is rebuilt, the neighbors’ circumstances change and the community celebrates a new start.
Look After Lulu!
In 1908 Paris, the cocotte Lulu agrees to a mock wedding with Marcel so he can secure his godfather’s fortune, while her lover Philippe is away on military service and a prince seeks an assignation. A string of mistaken letters, hidden guests and bathroom and bedroom disguises turns the sham ceremony into a real marriage, then leaves Lulu free to return to Philippe.
Look Back in Anger
In a cramped Midlands flat, working-class Jimmy Porter’s attacks on his upper-middle-class wife Alison intensify as their friend Cliff tries to mediate. Alison leaves with her father, and Jimmy begins an affair with her friend Helena. Months later Alison returns after losing her baby; Helena leaves, and Jimmy and Alison reconcile through their private game of bears and squirrels.
Look Before You Leap
Look Before You Leap is an 1846 comedy play by the British writer George William Lovell. It premiered at the Theatre Royal, Haymarket in London's West End on 29 October 1846. The cast included Henry Howe as Brandon, John Baldwin Buckstone as Tom Tilly, William Farren as Mr. Oddington, Benjamin Nottingham Webster as Jack Spriggs, Julia Glover as Miss Brown, Priscilla Horton as Mary Oddington, Mrs Edwin Yarnold as Elinor Mortimer, Julia Bennett as Fanny Hardman.
Look Homeward, Angel
Look Homeward, Angel traces the coming of age of Eugene Gant, as well as the lives of his family members. It takes place in the town of Altamont, North Carolina. Eugene's mother, Eliza, runs a boarding house, "Dixieland", where boarders often interact with and affect the lives of the Gants. His father, William Oliver, runs a marble sculpture shop, where his prized possession, a statue of an angel, is kept. The play begins by showing life in the boarding house when a young woman, Laura enters and requests to stay there. Gant enters drunk, but is eventually helped by his daughter, Helen. The next scene sees Eugene and his brother, Ben, discussing life and love. Eugene meets Laura, and they appear to fall in love, though Eugene lies about his age, claiming to be older. Eliza and Gant fight over the matter of selling his shop and the angel statue. Eliza enters the boarding house and begins arguing with Ben, cumulating in her slapping him. The next scene, days later, sees Gant and Eugene working in his shop. Laura enters to confront Eugene about the truth—she has lied about her age and he has as well. Eliza enters, ready to sell Gant's shop, until he at last announces that rather than use the money for Dixieland's expenses, he would take the money, put Gene in college, and begin traveling. Eliza rips up his check in a fit of fury and exits. Immediately following, Ben falls ill. He is then seen on his deathbed, where he dies. The third act opens with Eugene and Laura in their bedroom.
Look on Tempests
A man is accused of gross indecency, and the accusation affects his upper-middle-class family. The play examines the personal and social consequences of the charge.
Loona
This Punjabi verse play reworks the Puran Bhagat legend from Loona's perspective. A young woman is married to an older man and rejected by his adult son; the work centers her suffering and challenges the patriarchal judgment that casts her as a villain.
Looped
During an eight-hour recording session in 1965, an inebriated Tallulah Bankhead struggles to redub one line for her final film. The session becomes a battle of wills with sound editor Danny Miller, who must work through Bankhead’s outsized personality and repeated attempts to get the line right.
Loot
Two young thieves hide their bank-robbery proceeds in the coffin of Hal’s recently deceased mother. As the body repeatedly appears around the house, they try to evade Inspector Truscott, while the farce satirizes bereavement rituals, religious and secular respectability, and police corruption.
Lord Arthur Savile's Crime
Lord Arthur Savile's Crime is a 1952 comedy thriller play by the British writer Constance Cox, based on the short story Lord Arthur Savile's Crime by Oscar Wilde. After a palm reader convinces him it is his destiny to commit murder before he can marry his fiancée, an aristocrat makes several inept attempts to kill people. It premiered at the Theatre Royal in Aldershot before transferring to the Court Theatre in London where it ran for 21 performances. The play was directed by Jack Hulbert and starred his younger brother Claude Hulbert in the title role, along with Peter Haddon and Jean Lodge. In 1960, Gerald Savory adapted Cox's play into an episode of the Armchair Theatre anthology series on the ITV network in the UK.
Lord Arthur’s Bed
In 2008, after entering a civil partnership, Donald and Jim live in a house once occupied by Lord Arthur Clinton and Ernest Boulton. The play revisits Boulton and Frederick Park’s Victorian lives through the perspective of contemporary gay culture.
Lord Babs
Lord Babs is a comedy play by the British writer Keble Howard. A farce, the plot revolves around an aristocrat who has to pretend he is a small child in order to avoid being arrested. It premiered at the Kings Theatre, Southsea in Hampshire in 1925. Donald Calthrop, the actor engaged to play the lead, had to withdraw at short notice due to illness. Keble Howard, the play's author and an amateur actor, stood in for the first two nights at Southsea while another professional actor prepared for the part. After Southsea, the play performed for a week each in Cardiff and Brighton, followed by two dates in North Wales. Three years later it enjoyed a run of 142 performances in London's West End between 26 January and 19 June 1928, initially at the Vaudeville Theatre before transferring to the Criterion Theatre. The West End cast included Billy Merson, Hermione Baddeley, Lawrence Anderson and Joan Barry.
Lord Byron's Love Letter
During Mardi Gras in late-19th-century New Orleans, a spinster and an old woman claim to possess a love letter Lord Byron sent the spinster’s grandmother. As the grandmother’s diary is read to visitors, it becomes clear that the old woman and grandmother are the same person, who has lived in seclusion in Byron’s memory.
Lord Hay's Masque
A wedding court masque for James Hay and Honora Denny, built around a sylvan setting with Diana's grove, Flora's bower and the House of Night. Nine knights of Apollo emerge from moving golden trees, accompanied by torchbearers representing the Hours of night.
Lord and Lady Algy
Lord and Lady Algy separate over disagreements about money, cigarettes and racehorses, though both still hope to reconcile. When Algy's brother courts a married woman and her jealous husband suspects Algy, Lady Algy covers for the pair; after Algy loses his money betting and she wins, they reunite.
Lorenzaccio
In Renaissance Florence, Lorenzo de’ Medici feigns debauchery to gain the tyrant Duke Alessandro’s trust, then kills him hoping to spark a republic. The conspirators fail to act, Cosimo becomes the new duke, and Lorenzo is assassinated.
Lorilei: A Meditation on Loss
Drawn from trial transcripts, this solo performance tells Lorilei Guillory's story after her six-year-old son is murdered. At the killer's retrial, she testifies that he was mentally ill and should not be sentenced to death, exploring her grief and compassion for him.
Los Vendidos
At Honest Sancho’s Used Mexican Lot, a secretary for Governor Reagan seeks a Mexican-American “type” for the administration. Sancho demonstrates four stereotyped models: a farm worker, a violent pachuco, a revolutionary bandit, and a polished, bilingual professional. When the secretary selects the last, he launches a protest and awakens the others. They reveal they are living people, leave together, and share the money, while Sancho is exposed as a robot.
Los invertidos
Clara visits Pérez, her husband's close friend, and discovers a clandestine homosexual circle to which her husband belongs. After finding a letter revealing their childhood relationship, she kills Pérez; Flórez then takes his own life, leaving their son with his mother.
Losing Louis
A family reunites after years of separation as secrets surrounding Louis Ellis’s 1950s marriage and affair resurface in the bedroom where the confusion began, forcing his adult sons and their wives to face the past.
Lost Lear
Joy, a former actress with early-onset dementia, lives in an assisted care facility. She remembers performing King Lear and sees her caregiver Liam as the Fool and her visiting son Conor as Cordelia, while her memory of the play remains clearer than her recognition of her family.
Lost Soul
Thirty years after Donna and Pat’s carefree youth, they feel diminished by their lives and relationships; a confrontation with a bouncer prompts them to wonder what happened to the fun times.
Lost in Yonkers
In Brooklyn in 1942, Evelyn Kurnitz has just died following a lengthy illness. Her husband, Eddie Kurnitz, needs to take a job as a traveling salesman to pay the medical bills incurred, so he decides to ask his stern and straight-talking mother (from whom he is slightly estranged) if his two early-teen sons, Jay and Arty (whom she insists on calling by their full given names, Jacob and Arthur, which she pronounces "Yakob" and "Artur"), can live with her and their Aunt Bella Kurnitz in Yonkers. She refuses. After a threat by Bella, she lets them stay without ever saying they could stay. Despite their grandmother owning and operating a candy store, Jay and Arty do not like their new living situation. They are afraid of their grandmother and find it difficult to relate to their crazy Aunt Bella, whose slow mental state is manifested by perpetual excitability and a short attention span, which outwardly comes across as a childlike demeanor. Into their collective lives returns one of Eddie and Bella's other siblings, Louie Kurnitz, a henchman for some gangsters. He is hiding out from Hollywood Harry, who wants what Louie stole and is hiding in his small black bag. Jay and Arty's mission becomes how to make money fast so that they can help their father and move back in together, which may entail stealing the $15,000 their grandmother has hidden somewhere. Bella's mission is to find a way to tell the family that she wants to marry Johnny, her equally slow movie theater usher boyfriend; the two could also use $5,000 of Grandma's hidden money to open their dream restaurant. And Louie's mission is to survive the next couple of days.
Lost in the Dark
In a seedy Neapolitan variety tavern, blind pianist Nunzio and fragile young Paolina are caught among exploitative and impoverished patrons. Their love and vulnerability unfold against the corruption and hardship surrounding them.
Loud Speaker
Loud Speaker is a play by American playwright John Howard Lawson. It was first produced by the New Playwrights' Theatre at the 52nd Street Theatre in New York, opening on March 2 1927. Harry Wagstaff Gribble directed, Mordecai Gorelik designed the sets, Eugene L. Berton composed its music, and Leonard Sillman choreographed its dances.
Louder, Please
Publicity men fake the disappearance of a film star who is "lost at sea".
Louis IX
A historical tragedy inspired by the life of medieval French king Louis IX, who took part in the Seventh and Eighth Crusades.
Lovagias ügy
In 1935 Budapest, longtime company accountant Virág is slapped at work by Pali, the boss’s nephew, after their interests collide around secretary Gizike. Humiliated, Virág returns to his ordinary office life, where his daughter Baba’s arrival changes the balance of the romantic triangle and forces the men to settle the affair of honor.
Love
Love (also known as The Countess and the Serf) is an 1839 play by the Irish writer James Sheridan Knowles. It premiered at the Theatre Royal, Covent Garden on 4 November 1839 with a cast that included Charles Selby as Prince Frederick, James Vining as Sir Rupert, Alfred Wigan as Sir Conrad, William Payne as Stephen, Ellen Tree as Countess, Emma Brougham as Empress and Lucia Elizabeth Vestris as Catherine. Knowles was paid six hundred pounds for the work by the management of Covent Garden. Mary Shelley praised the play for its "inspiring situations founded on sentiment and passion". It went on to enjoy success in the United States where it became part of the repertoire, being performed at the Broadway Theatre in New York many times in the 1850s. It was celebrated by abolitionists who cheered its anti-slavery theme of a serf falling in love with a countess despite her father's disapproval and the threat of execution.
Love
Two families placed in temporary British housing accommodation in the run-up to Christmas.
Love All
A romance writer leaves his wife, herself a playwright, for his mistress in Venice. When both women return to London and encounter him at the wife's flat, each chooses work over a relationship with him.
Love At First Sight
Love At First Sight is a comedy play that has been released in 1704 by the writer David Crauford. The play was written with comedy and funny ideas, But David Crauford never thought about writing Comedy play, But this time he wrote one. It premiered at the Lincoln's Inn Fields Theatre in London. The original cast included Barton Booth as Courtly, George Powell as Lovewell, George Pack as Sir Nicholas Empty, William Fieldhouse as Gripeall, Francis Leigh as Hector, John Freeman as Jeremy, Joe Miller as Watchman, Mary Porter as Fidelia and Lucretia Bradshaw as Celinda.
Love Betrayed
Love Betrayed is a 1703 comedy play by the English writer William Burnaby. It is also known by the longer title Love Betray'd; Or, The Agreeable Disappointment. It was a reworking of Shakespeare's Twelfth Night. The original cast included John Verbruggen as Moreno, George Powell as Drances, Barton Booth as Sebastian, Thomas Doggett as Taquilet, George Pack as Pedro, William Fieldhouse as Rodoregue, Elizabeth Barry as Villaretta, Abigail Lawson as Laura, Elinor Leigh as Dromia and Anne Bracegirdle as Caesario.
Love Finds the Way
Love Finds the Way (originally titled The Right to Happiness) is a three-act play written by Marguerite Merington and first performed in 1896. Theatrical manager A. M. Palmer acquired the rights to a German play by Olga Wohlbrück, which Merington adapted into English. The adaptation debuted at the Grand Opera House in Wilmington, Delaware on November 30, 1896, with actress Minnie Maddern Fiske in the lead role. The title was changed to Love Finds the Way for Broadway, where it opened at the Fifth Avenue Theatre on April 11, 1898, with A Bit of Old Chelsea by Mrs. Oscar Beringer as a curtain raiser. (Fiske starred in both plays.) Love Finds the Way is a comedy-drama about a young woman who seeks romance despite an injury that has left her unhappy and alienated from her family.
Love Freed from Ignorance and Folly
A court masque in which the Sphinx captures Love and the Queen; Cupid and the Queen are freed after the priests of the Muses solve the Sphinx's riddles. The Queen and her ladies appear in a cloud above their former prison.
Love Letters
Love Letters is a play by A. R. Gurney that was a finalist for the Pulitzer Prize for Drama. The play centers on two characters, Melissa Gardner and Andrew Makepeace Ladd III. Using the epistolary form sometimes found in novels, they sit side by side at tables and read the notes, letters and cards – in which over nearly 50 years, they discuss their hopes and ambitions, dreams and disappointments, victories and defeats – that have passed between them throughout their separated lives. The play is a performance favorite for busy name actors, for it requires little preparation, and lines need not be memorized. It was first performed by the playwright himself with Holland Taylor at the New York Public Library, then opened in 1988 at the Long Wharf Theatre in New Haven, Connecticut, with Joanna Gleason and John Rubinstein.
Love Makes a Man
Love Makes A Man; Or, The Fop's Fortune is a comedy play by the English writer Colley Cibber written and first performed in 1700, and first published in 1701. It borrows elements from two Jacobean plays The Elder Brother and The Custom of the Country by John Fletcher. It was originally staged at the Theatre Royal, Drury Lane with a cast that included Robert Wilks as Carlos, William Bullock as Antonio, Richard Cross as Charino, William Pinkethman as Don Lewis, Colley Cibber as Clodio, Henry Norris as Sancho, Thomas Simpson as Governor, John Mills as Don Duart, Susanna Verbruggen as Louisa, Henrietta Moore as Honoria and Frances Maria Knight as Elvira.
Love Restored
In this court masque, presenter Masquerado apologizes for the modest production while Robin Goodfellow exposes Plutus, who is posing as Cupid, and offers to lead him to the real god. Robin recounts his struggle to enter the masque through more than forty disguises. The work defends court revels against Puritan criticism and uses allegorical figures such as Honour, Courtesy, and Valour.
Love Tricks, or The School of Complement
Infortunio loves Selina, who is arranged to marry the elderly Rufaldo. Selina flees disguised as a shepherd, while her brother Antonio impersonates her at the wedding to pursue Hilaria; mistaken identities and forest reunions ultimately resolve three couples’ courtships. Comic episodes satirize elaborate courtly speech and manners.
Love Triumphant
Love Triumphant; Or, Nature Will Prevail is a 1694 tragicomedy by the English writer John Dryden. It was Dryden's final stage play. It was originally staged by the United Company at the Theatre Royal, Drury Lane. The first cast included Thomas Betterton as Alphonso, Edward Kynaston as Veramond, Joseph Williams as Garcia, John Verbruggen as Ramirez, Thomas Doggett as Sancho, George Powell as Carlos, Cave Underhill as Lopez, Mary Betterton as Ximena, Elizabeth Barry as Victoria, Anne Bracegirdle as Celidea, Susanna Mountfort as Dalinda and Mary Kent as Nurse. Incidental music was provided by John Eccles and Henry Purcell. The published version of the play was dedicated to Earl of Salisbury, who shared Jacobite sympathies with Dryden. It was printed by the publisher Jacob Tonson who secured exclusive rights to Dryden's work late in the writer's career.
Love and Anger
Recovering from a stroke, Toronto lawyer Petey Maxwell reinvents himself as a champion of the underdog. He takes on a case involving a framed man and a powerful tabloid publisher, bringing him into conflict with the publisher’s ambitious lawyer and his own former wife.
Love and Duty
Love and Duty is a 1722 tragedy by the British writer John Sturmy. The original Lincoln's Inn Fields cast included Anthony Boheme as Danaus James Quin as Lynceus, Richard Diggs as Arcas, John Egleton as Idas and Anna Maria Seymour as Hypermnestra and Jane Egleton as Iris. It lasted for six performances on its initial run.
Love and Gout
Love and Gout is an 1814 comedy play by the British writer Robert Francis Jameson. It was originally staged at the Haymarket Theatre in London's West End. It was considered successful with audiences.
Love and Honour
During an Italian war, Evandra is captured and faces execution in revenge for a battle. Three men love her and each considers sacrificing himself; Evandra instead surrenders to the authorities to protect them. A series of disguises and revelations resolves the conflict, and Evandra marries Leonell while Alvaro marries Melora.
Love and Information
A sequence of seven ordered sections contains more than one hundred short scenes about how people form connections and make sense of the world. Vignettes within each section can be rearranged, and additional scenes can be inserted, leaving directors and performers to shape the work’s themes.
Love and Kisses
Love and Kisses is a play by Anita Rowe Block. Set in Michigan, the work is a comedy based around the topic of teenage marriage. It premiered in Boston in November 1963 at the Wilbur Theatre. It transferred to the Walnut Street Theatre in Philadelphia in early December 1963 before arriving at Broadway's Music Box Theatre where it opened on December 18, 1963. It ran for just thirteen performances; closing on December 28, 1963. Produced and directed by Dore Schary, the cast included Susan Browning as Elizabeth Pringle, Larry Parks as Jeff Pringle, Bert Convy as Freddy Winters, Michael Currie as T.J. Jones, Mary Fickett as Carol Pringle, Alberta Grant as Rosemary Cotts, Katharine Raht as Nanny, and Dennis Cooney as Buzzy Pringle. Helene Pons designed the costumes. The Boston Globe critic Kevin Kelly found the work to be "pleasant, funny but also mindless". the Glendale Centre Theatre (1990) in Los Angeles, and the Hale Centre Theatre (1995) in Utah. It was adapted into the 1965 film of the same name starring Ricky Nelson.
Love and Money
Told backwards, the play traces how debt and materialism destroy David and Jess’s relationship: David recounts allowing Jess to die after an overdose, while earlier scenes reveal their accumulating debt and the excitement of Jess’s proposal.
Love and Revenge
Love And Revenge is a 1674 tragedy by the English writer Elkanah Settle. It was originally staged by the Duke's Company at the Dorset Garden Theatre in London. The cast featured William Smith as Clotair, John Crosby as Lewis, Henry Norris as Brisack, Matthew Medbourne as Clarmount, Thomas Gillow as Lamot, Thomas Percival as Burbon, Mary Lee as Nigrello, Margaret Osborne as Fredigond and Mary Betterton as Aphelia. When published in 1675 it was dedicated to the Duke of Newcastle, a wealthy aristocrat and patron of the arts.
Love and a Bottle
Love and a Bottle is a 1698 comedy play by the Irish writer George Farquhar. Written shortly after Farquhar, an Irish Protestant originally from Derry, moved to London its central character is an Irishman Roebuck who has fled from Ireland after getting a woman pregnant. Resisting his father's demand that he marry the woman, he is followed to the English capital by the recent mother of his son. The original Drury Lane cast included Joseph Williams as Roebuck, John Mills as Lovewell, William Bullock as Mockmade, Benjamin Johnson as Lyrick, Joseph Haines as Pamphlet, William Pinkethman as Club, Jane Rogers as Lucinda, Mary Powell as Bulfinch, Henrietta Moore as Pindress, Maria Allison as Leanthe and Margaret Mills as Trudge. The published version was dedicated to the Marques of Carmarthen. His debut work in England, it lacked the impact that his subsequent work The Constant Couple had. However, following the success of his later plays it became a commonly-performed work during the eighteenth century.
Love at a Venture
Two couples are contrasted: roguish Bellair loves demure Camilla, while steadfast Sir William Freelove loves witty, flirtatious Beliza. Servants Patch and Robin and the mimic Wou’dbe provide comic roles.
Love for Love
Valentine, burdened by creditors, signs away his inheritance to his younger brother Ben in exchange for money. He loves Angelica, while Ben is matched with Miss Prue and a web of mistaken affections entangles the household. Angelica tricks Valentine's father into marriage proposals, retrieves the bond and reveals her love for Valentine.
Love for Money
Love For Money, also known as The Boarding School, is a 1691 comedy play by the English writer Thomas D'Urfey. It was originally staged at the Theatre Royal, Drury Lane by the United Company. In 1733 it was adapted into a ballad opera The Boarding School by Charles Coffey. In 2025 a lost work from the play, the song As Soon as Day Began To Peep by English composer Henry Purcell, was rediscovered in the Worcestershire County Archives by Caro Lesemann-Elliott, a researcher on the 'Music, Heritage, Place' project (co-led by Kirsten Gibson, Stephen Rose, and Nancy Kerr); it was unknown to modern scholars. Announcing the find, music professor Stephen Rose said the song was written for a character called Monsieur le Prate, a French fop who is "not quite in control of his emotions" in trying to woo a woman: "He comically compares himself to a cat howling and scratching at the door of his beloved, with Purcell representing the miaows in music." He added that, at the play's performance in London, audience members booed it as a malicious attack on a girls’ boarding school in Chelsea where D’Urfey had stayed in 1690: "Purcell’s opera Dido and Aeneas was performed at the same school in around 1687, so it is interesting to see Purcell also involved in a play that satirised the venue of his opera and the girls who sang in it."
Love from a Stranger
Love from a Stranger is a 1936 play by Frank Vosper. It is based on "Philomel Cottage", a 1924 short story by British mystery writer Agatha Christie.
Love in Albania
Love in Albania is a comedy play by the British writer Eric Linklater, which was originally performed in 1949. After appearing at the Lyric Theatre, Hammersmith it transferred to St James's Theatre in the West End. Directed by and starring Peter Ustinov the cast also included Brenda Bruce, Molly Urquhart, Peter Jones and Robin Bailey. It was staged with the support of the Arts Council of Great Britain. Ustinov played a buffoonish American military policeman searching for his long-lost daughter in wartime London.
Love in E-Flat
Teacher Amy is having an affair with intern Howard. He is jealous of her and bugs her apartment with a listening attack.
Love in Idleness
A young man returns from Canada with radical left-wing views and is horrified to discover that his mother has begun a relationship with a wealthy businessman serving as Minister for Tank Production.
Love in Several Masques
Three respectable suitors pursue their beloveds while facing rivals and tests of character. Wisemore must prove his worth to Lady Matchless, while Merital elopes with Helena against her uncle’s wishes; parallel courtships, letters and unmaskings explore love, virtue and the social masks worn in marriage.
Love in a Forest
Love in a Forest is a 1723 comedy play by Charles Johnson. It is a substantial reworking of Shakespeare's As You Like It cutting out characters and passages, while borrowing from other Shakespeare plays amongst other things. The original Drury Lane cast included Charles Williams as Duke Frederick, Barton Booth as Alberto, Colley Cibber as Jacques, John Corey as Amiens, John Thurmond as Oliver, Robert Wilks as Orlando, John Roberts as Roberto, John Mills as Adam, Theophilus Cibber as Le Beau, William Mills as Charles, Hester Santlow as Rosalind, Sarah Thurmond as Celia, William Penkethman as Pyramus, Henry Norris as Wall and Joe Miller as Thisbe.
Love in a Maze
Gerard loves sisters Chrysolina and Aurelia and hopes his friend Thornay will choose one so that he can marry the other. When Thornay’s former lover Eugenia turns to another suitor, Chrysolina falls for that man, resolving Gerard’s dilemma. A disguised page also tricks Sir Gervase Simple into marrying him, while other romantic and comic subplots end in three couples’ weddings.
Love in a Mist
Love in a Mist is a 1941 comedy play by the British writer Kenneth Horne. The plot around a honeymooning couple at an isolated cottage on Exmoor. It premiered at the Connaught Theatre in Worthing. It then transferred to St Martin's Theatre in the West End, enjoying a run of 91 performances between 20 November 1941 and 7 February 1942. The cast included Ann Todd, Anna Konstam, Richard Bird, Michael Shepley and Marjorie Rhodes.
Love in a Riddle
Love in a Riddle is a 1729 ballad opera by the British actor-manager Colley Cibber. It was part of a boom in ballad operas inspired by the enormous success of John Gay's The Beggar's Opera the previous year. The original Drury Lane cast included John Mills as Arcas, John Harper as Aegon, Charles Williams as Amyntas, Sarah Thurmond as Iphis, Colley Cibber as Philautus, Benjamin Griffin as Corydon, James Oates as Mopsus, Joe Miller as Cimon, Jane Cibber as Ianthe and Kitty Clive as Phillida. The prologue was spoken by Robert Wilks.
Love in a Veil
Love in a Veil is a 1718 comedy play by the British writer Richard Savage. It was inspired by a seventeenth century play by the Spanish writer Pedro Calderón de la Barca. The cast included Charles Williams as Lorenzo, Henry Norris as Alonzo, John Mills as Sir Charles Winlove, John Thurmond as Don Philip, William Mills as Diego, Anna Maria Seymour as Leonora, Mary Willis as Fidelia and Joe Miller as Aspin.
Love in a Wood
Love in a Wood; Or, St James's Park is a 1671 comedy play by the English writer William Wycherley. His debut play, it was first staged at the Theatre Royal, Drury Lane by the King's Company. The original cast included Charles Hart as Ranger, Richard Bell as Vincent, Edward Kynaston as Valentine, John Lacy as Alderman Gripe, William Wintershall as Sir Simon Addleplot, Michael Mohun as Dapperwit, Elizabeth Boutell as Christina, Elizabeth Cox as Lydia, Mary Knep as Lady Flippant, Katherine Corey as Mrs Joyner and Elizabeth James as Isabel. The published version of the following year was dedicated to the Duchess of Cleveland, mistress of Charles II.
Love in the Dark
Love In The Dark; Or, The Man of Bus'ness is a 1675 comedy play by the English writer Francis Fane. It was first staged by the King's Company at the Theatre Royal, Drury Lane in London. The epilogue was written by the Earl of Rochester, and may also have contributed some of the more libertine lines to the play. It is set in Venice. The original Drury Lane cast included Edward Lydall as Loredano, Nicholas Burt as Cardinal Colonna, William Cartwright as Hircanio, Philip Griffin as Grimani, William Wintershall as Cornanti, John Lacy as Intrigo, Edward Kynaston as Count Sforza, Michael Mohun as Tribultio, Joseph Haines as Visconti, Martin Powell as Proveditor, Elizabeth James as Aurana and Elizabeth Boutell as Bellinganna.
Love on the Dole
In Depression-era Salford, unemployment divides the Hardcastle family. Harry loses his factory job, cannot find work, and marries Helen after she becomes pregnant. His sister Sally loves socialist agitator Larry Meath, but after he is killed during a protest march she turns to bookmaker Sam Grundy, whose influence helps the family find work.
Love the Cause and Cure of Grief
Love the Cause and Cure of Grief is a 1743 tragedy by the British writer Thomas Cooke. It is a revised version of Cooke's earlier published but unperformed play The Mournful Nuptials. It premiered at the Theatre Royal, Drury Lane with a cast that included Dennis Delane as Weldon, Henry Giffard as Briar, William Havard as Young Freeman, Richard Winstone as Judge and Anna Marcella Giffard as Charlotte.
Love the Sinner
Michael, a married small-business owner, joins a delegation of bishops in Africa as a lay volunteer. An encounter with a hotel porter confronts him with moral choices that unsettle his business, marriage, and faith.
Love! Valour! Compassion!
The setting is at a lakeside summer vacation house in Dutchess County, two hours north of New York City where eight gay friends spend the three major holiday weekends of one summer together for Memorial Day, Independence Day, and Labor Day. The house belongs to Gregory, a successful Broadway choreographer now approaching middle age, who fears he is losing his creativity; and his twenty-something lover, Bobby, a legal assistant who is blind. Each of the guests at their house is connected to Gregory's work in one way or another – Arthur and longtime partner Perry are business consultants; John Jeckyll, a sour Englishman, is a dance accompanist; die-hard musical theater fanatic Buzz Hauser is a costume designer and the most stereotypically gay man in the group. Only John's summer lover, Ramon, and John's twin brother James are outside the circle of friends. But Ramon is outgoing and eventually makes a place for himself in the group, and James is such a gentle soul that he is quickly welcomed.
Love's Comedy
At a country house, poet Falk and missionary-minded Lind pursue Svanhild and Anna. Falk condemns respectable marriages as loveless and plans to flee with Svanhild, but when they admit their passion may fade, she accepts a secure marriage to Guldstad while Falk leaves to write songs about ideal love.
Love's Contrivance
Love's Contrivance is a 1703 comedy play by the English writer Susanna Centlivre. The cast featured Robert Wilks as Bellmie, Anne Oldfield as Belliza, William Bullock as Selfwill, Benjamin Johnson as Sir Toby Doubtful and Jane Rogers as Lucinda. It was staged at Drury Lane Theatre and ran for five nights, which was considered a moderate success eclipsing Centlivre play's previous play The Stolen Heiress.
Love's Frailties
Love's Frailties is a 1794 comedy play by the British writer Thomas Holcroft. The original Covent Garden cast included William Thomas Lewis as Mr Muscadel, John Quick as Sir Gregory Oldwort, Joseph George Holman as Charles Seymour, Joseph Shepherd Munden as Mr Craig Campbell, Charles Farley as James, Jane Pope as Lady Fancourt and Isabella Mattocks as Nanette.
Love's Frailties; or, Passion and Repentance
Susan Greenwell leaves her Yorkshire village for London with Squire Belgrade, believing they are married. After learning he staged the wedding, she loses her sanity; her brother Lubin brings her home, and Belgrade ultimately agrees to marry her.
Love's Labour's Lost
The King of Navarre and three companions vow to avoid women and devote themselves to study, but fall in love with the visiting Princess of France and her ladies. Their disguises and wordplay unravel, and the Princess delays any marriages for a year after her father's death.
Love's Last Shift
Amanda, whose rakish husband Loveless abandoned her for ten years, disguises herself as a wealthy courtesan and lures him to her house. After revealing her identity in the morning, she persuades him to reform; the play also features the fop Sir Novelty Fashion.
Love's Metamorphosis
In Arcadia, Cupid punishes three nymphs for rejecting their shepherd suitors by transforming them into a rock, rose and bird. A subplot follows Erisichthon’s punishment after he destroys a sacred tree and his daughter Protea’s escape from servitude. Ceres persuades Cupid to restore the nymphs, who agree to marry the shepherds.
Love's Sacrifice
Duke Phillippo Caraffa marries Bianca after seeing her while hunting, but his friend Fernando also falls in love with her. Bianca eventually returns Fernando’s feelings, while Caraffa’s widowed sister Fiormonda, herself in love with Fernando, uses the scheming D’Avolos to inflame her brother’s jealousy. The conflict ends with the deaths of Bianca, Fernando, and Caraffa.
Love's Sacrifice
Love's Sacrifice is an 1842 play by the British writer George William Lovell. It premiered at the Theatre Royal, Covent Garden on 12 September 1842. The original cast included John Vandenhoff as Matthew Elmore, Walter Lacy as St. Lo, Alfred Wigan as Morluc, William Payne as Du Viray, Drinkwater Meadows as Jean Ruse, Charlotte Vandenhoff as Margaret, Harriette Deborah Lacy as Herminie de Vermont. It opened at the Bowery Theatre in New York the following year. It was well known in America by the 1850s.
Love's Victim
Love's Victim: or, the Queen of Wales is a 1701 tragedy by the English writer Charles Gildon. The original cast included Thomas Betterton as Rhesus, Mary Porter as Tyrelius, George Pack as Morganius, Barton Booth as King of Bayonne, John Bowman as Druid, John Hodgson as Dumnacus, Anne Bracegirdle as Guinoenda, Elizabeth Barry as Queen of Bayonne and Mary Willis as Manselia. The epilogue was written by William Burnaby.
Love's Victory
Venus sends Cupid to punish shepherds and shepherdesses who neglect her, setting off a tangle of loves and mistaken suspicions. Philisses loves Musella, while Lissius loves Philisses's sister Simeana; Silvesta's vow of chastity frustrates Forester. When Musella is forced toward marriage with Rustic, the lovers appear to die before Venus and Cupid reveal the truth and restore the couples.
Love's Victory
Two suitors Don Cesar and Don Gaston court Princess Diana for her hand in marriage while Don Cesar, despite his love for her remains aloof, upsetting her pride. She plays them off against each other, leading to both the Princess and Don Cesar announcing their engagements to others, before eventually they are brought together.
Love, Loss, and What I Wore
A character called "Gingy" acts as the narrator. The Los Angeles Times spent a full paragraph on a vignette about two high school prom dresses. The junior prom dress was a conservative powder blue gown to wear with a nerdy date. The senior prom dress was a sexy black mini dress that was befitting of her more desirable date. The dresses presented an identity crisis to one character: "Here's the thing – I've never really known for sure which of those two people I am – the girl who almost doesn't get asked to the prom at all or the girl who gets to go with the really cute guy. Every time I thought I knew which one I was, I turned out to be the other. Which is one reason I think I got married, to, like, end the confusion." The New York Times presented three stories that it felt were particularly emotional: the first about a woman who removed miniskirts from her college wardrobe after being raped, but continued wearing her favorite boots; another about wedding attire anxieties; and the third about the choice of adorning a newly reconstructed breast with a tattoo. The same article also noted a humorous ode to black as a part of a wardrobe or in fact as a wardrobe, as one character notes: "Sometimes I buy something that isn't black, and I put it on and I am so sorry." Other stories include recollections about the dress purchased for the date with a guy who subsequently married someone else; the foibles of spandex bras that result in a look known as the monoboob; issues involving toe cleavage; the Juicy Couture tracksuit that is a prominent staple of California wardrobes; wardrobe choice on the wrong day of the month; and the story about an incarcerated lover and the strategic hole in a certain pair of pants.
Love-Lies-Bleeding
Artist Alex Macklin's family gathers after a second stroke leaves him in a persistent vegetative state. His son and two wives disagree about whether to end life-sustaining care, confronting questions of mercy, mortality, and the meaning of life.
Lovers
A two-part play: “Winners” follows teenage lovers Joe and Mag as they revise for exams before their planned marriage, with the narrators foreshadowing their deaths in a lake; “Losers” follows Hanna and Andy's relationship under the scrutiny of Hanna's mother and neighbor, ending in a loveless marriage.
Lovers' Vows
Act I: The play opens with Agatha being ejected from an inn when her money runs out. Too proud to beg, she is desperate. Frederick enters, sees her, and offers her money although it will mean he cannot pay for his own breakfast. She recognizes him as her son, absent for five years as a soldier. He has returned in order to find his birth certificate, which he needs in order to find employment. Distraught, Agatha tells him that there is no certificate; she was seduced at the age of seventeen by Baron Wildenhaim with a promise of marriage. Despite the resulting pregnancy, the Baron broke his promise and married another, wealthier woman. Agatha, turned out of her home, struggled to make ends meet and raise her son alone. Frederick is dismayed, and he arranges for his destitute mother to stay with some charitable cottagers. Act II: Frederick leaves, intending to beg for money. Not knowing her relationship to him, the cottagers tell Agatha of the recent history of Baron Wildenhaim, now widowed and with a daughter. She faints. Meanwhile, reluctant to force her inclination as his own was forced, the Baron tries to determine whether or not his daughter, Amelia, loves the affected and foppish Count Cassel. It becomes clear to the audience that she instead loves Anhalt, a poor clergyman, and he her. It also becomes clear that the Baron regrets the misdeeds of his youth and has long sought, fruitlessly, to make amends. Act III: Frederick, desperate as his begging has been unsuccessful, attempts to rob the Baron and the Count as they go hunting, not knowing who they are. He is arrested. Anhalt speaks to Amelia about matrimony, at the Baron's request, but she in turn confesses her love for him and forces his own confession. They are interrupted by Verdun, a versifying butler, with the news of Frederick's attack on the Baron. The Baron enters and Amelia pleads for the life of the unknown young man, but the Baron is adamant on the grounds that an example must be made. Act IV: Amelia takes Frederick food and he discovers who it was that he had threatened. He asks to meet the Baron privately. Amelia reveals to her father what she has learned from Verdun about the Count's sexual immorality. The Baron confronts the Count; he replies that he is a man of the world, and reminds the Baron that many men have behaved likewise. Confused and embarrassed, the Baron dismisses him. Amelia re-enters and reveals her love for Anhalt. They are interrupted by Anhalt, who tells the Baron that Frederick is in the next room and wants a private interview. Frederick reveals their relationship to the Baron, and then leaves. The Baron is much affected. Act V: Anhalt goes to Agatha at the cottage and explains some circumstances which mitigate the Baron's prior conduct. Frederick, and then Anhalt, insist to the Baron that he must marry Agatha. After some agitation due to the social difference between them, he agrees, and grateful to Anhalt for his advice, agrees also to let him marry Amelia, despite his poverty. Agatha enters the room and all are reconciled.
Love’s Cruelty
In Ferrara, Clariana’s adultery with her fiancé Bellamente’s friend Hippolito leads to escalating deception and violence. Their intertwined conflicts with the Duke and his intended bride Eubella end in the deaths of Clariana, Hippolito, and Bellamente.
Love’s Cure, or The Martial Maid
In Seville, a feud between Vitelli and Alvarez threatens the love between Vitelli and the disguised Clara, Alvarez’s daughter raised as a boy and famed as a warrior. Alvarez’s son Lucio, raised as a girl, also falls in love. When the families prepare to settle the feud by combat, the young women intervene and secure peace and two marriages.
Love’s Fire
A commissioned theatrical evening of seven short plays inspired by Shakespeare’s sonnets, ranging from comic and romantic scenes to a dance piece with original music.
Love’s Pilgrimage
Theodosia disguises herself as a boy and travels to Barcelona after her fiancé Mark-Antonio deserts her; Leocadia, also disguised, follows him after he abandons her. Mark-Antonio’s betrayals and a street brawl bring the travelers together, where the women’s disclosures and a contrived duel between their fathers lead to reconciliations.
Love’s Triumph Through Callipolis
At the Stuart court, twelve depraved lovers invade the suburbs of idealized Callipolis and perform an anti-masque of sensual excess. After they are expelled and the place purified, allegorical figures celebrate the ordered, virtuous love of King Charles I and Queen Henrietta Maria.
Love’s Welcome at Bolsover
For Charles I and Henrietta Maria, a banquet masque at Bolsover Castle combines a song of welcome, a dance of craftsmen personified by Inigo Jones as Colonel Iniquo Vitruvius, and a second banquet brought from a cloud. Eros and Anteros, allegories of the King’s and Queen’s love, descend among the spectacle.
Loyalties
The play is an exposé of antisemitism in English upper-class society in the 1920s. It is set in Meldon Court, a country house near Newmarket, the home of Sir Charles and Lady Adela Winsor. One of their guests, Ferdinand de Levis, has had £1000 stolen from his room, and he charges another of the guests, Captain Ronald Dancy, with the theft. However, de Levis is Jewish and Dancy is a war hero. Despite evidence that Dancy may be guilty, de Levis is threatened with social ostracism by the members of the gentleman's club to which he belongs. He is suspended from the club and in turn resigns. When Mabel, Dancy's wife, pleads with de Levis, as a gentleman, to withdraw the charge, he replies "I'm not a gentleman - I'm a damned Jew!" echoing what Dancy has previously called him. Dancy, under pressure from the members of his club and from his wife, agrees to bring court proceedings against de Levis. The trial begins, but the case ends prematurely when the culprit is discovered. During the play several characters admit that they don't like Jews, while at the same time phrasing their opinions in ways that seek to avoid a charge of prejudice. Early on, Charles Winsor says "I like Jews. That’s not against him—rather the contrary these days. But he pushes himself." A friend of Mabel's, Margaret Orme, says, "I know lots of splendid Jews,... but when it comes to the point—! They all stick together; why shouldn't we? It's in the blood." And when Lady Adela tells Margaret that she is proud of her Jewish great grandmother, Margaret says "Inoculated." A well-to-do grocer, Gilman, says, "I don’t like—well, not to put too fine a point upon it—’Ebrews. They work harder; they’re more sober; they’re honest; and they’re everywhere. I’ve nothing against them, but the fact is—they get on so." Gilman has come to give evidence in the case because he thinks that it will help Dancy against de Levis. Few of the characters come out well.
Lu Ann Hampton Laverty Oberlander
This second play in A Texas Trilogy moves among three Bradleyville settings at the Hampton home in 1953, Red Grover’s bar in 1963, and the Hampton home again in 1973.
Lucerna
Miller Libor lives with his grandmother and foster daughter Hanka; the nearby waterman Michal is in love with Hanka.
Luces de Bohemia
In an episodic nocturnal journey through Madrid, blind poet Max Estrella and his companion Don Latino move among artists, officials, workers and prisoners. Max encounters poverty, political repression and the killing of a Catalan prisoner, then dies; Latino discovers that Max’s lottery ticket has won as the poet’s wife and daughter also die.
Lucifer
When God elevates humanity above the angels, Lucifer foments a revolt in Heaven. Michael defeats and casts the rebels down; Lucifer then seduces Adam and Eve, bringing about their expulsion from Paradise.
Lucius
Lucius or Lucius, the First Christian King of Britain is a 1717 tragedy by the British writer Delarivier Manley. It is based on the life of Lucius of Britain, the second century ruler of Britain traditionally considered to have introduced Christianity to Britain. It was Manley's final play to be staged. It premiered at the Theatre Royal, Drury Lane on 11 May 1717 with a cast that included John Thurmond as Honorius, Lacy Ryan as Vortimer, Barton Booth as Lucius, John Mills as Arminius, John Bowman as Prince of Cambria, Anne Oldfield as Rosalinda and Christiana Horton as Emmelin.
Lucius Junius Brutus
Lucius Junius Brutus; Father of his Country is a Restoration tragedy play by Nathaniel Lee from 1680. It depicts the life of Roman statesman Lucius Junius Brutus. It was first staged at the Dorset Garden Theatre by the Duke's Company. The original cast included Thomas Betterton as Lucius Junius Brutus, William Smith as Titus, Joseph Williams as Tiberius, John Wiltshire as Collatinus, Thomas Gillow as Valerius, Henry Norris as Horatius, William Fieldhouse and Thomas Percival as Fecilian Priests, James Nokes as Vindicius, Thomas Jevon as Fabritius, Mary Slingsby as Sempronia, Mary Betterton as Lucretia and Elizabeth Barry as Teraminta. It was published the following year by Jacob Tonson, and dedicated to the Earl of Dorset.
Lucky Dog
In the first part, an older married couple in Sheffield face the bitterness and desperation in their relationship after their son leaves home. A later, nearly silent section takes place abroad a year afterward; the central surreal episode has Sue acting like the couple's dog.
Lucky Girl
Inspired by the country-and-western bars of rural Alberta, this stage expansion combines live country music with a set built around an oversized jukebox.
Lucky Guy
Act I Mike McAlary, from 1985 to 1993, bounds from one New York City newsroom to another as he achieves career success, covering such stories as the tainted Tylenol case and the Buddy Boys of the 7-7 scandal. His salary increases as he ascends from being a cub reporter to star crime reporter to star columnist. In 1993, McAlary's suffers a near-fatal auto accident that leaves him physically impaired. Act II McAlary recovers from the accident and writes two defining stories of his career: the Jane Doe rape case, during which he is sued for libel after his column questions the truthfulness of the victim, and the Abner Louima story, for which he wins the Pulitzer. Eight months after he publishes the Louima story, on Christmas Day 1998, he succumbs to cancer at age 41.
Lucky You
JoLayne Lucks wins a Florida lottery and plans to protect land from development. When two fellow winners steal her ticket to claim the whole prize, she pursues them with a journalist’s help.
Lucrece
Lucrece is a play in six scenes by Thornton Wilder with incidental music by Deems Taylor. Wilder adapted André Obey's French play Le Viol De Lucrece into English, and Taylor composed the shows music. Obey's play was in turn based on William Shakespeare's poem The Rape of Lucrece about the Roman noblewoman Lucretia. Katharine Cornell and her husband Guthrie McClintic produced the work. It premiered at the Hanna Theatre in Cleveland, Ohio on November 29, 1932. It then played at the Teck Theatre in Buffalo before transferring to Broadway where it opened at the Belasco Theatre on December 20, 1932. Katharine Cornell portrayed the title role, and Robert Loraine and Blanche Yurka portrayed narrators reminiscent of a Greek chorus. Others in the cast included Brian Aherne as Tarquin, Charles Waldron as Brutus, Joyce Carey as Emilia, Pedro de Cordoba as Collatine, Brenda Forbes as Marina, and George Macready as both Valerius and a soldier.
Lucrezia Borgia
Victor Hugo's historical drama portrays Renaissance Italian aristocrat Lucrezia Borgia.
Lucy
An anthropologist unexpectedly takes responsibility for her autistic teenage daughter after years apart. Their attempt to build a relationship challenges the mother’s preference for solitude and her assumptions about how people understand the world.
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