8284 shows
Clear filtersIn a memory play, Lynn Redgrave revisits her relationship with her imposing actor father, Michael Redgrave, using Shakespearean roles and characters from her childhood daydreams to follow his life through his death and to forgive his failures as a parent.
A stage dramatization of Shakespeare in London in 1593, adapted from the film by Marc Norman and Tom Stoppard.
Shakespeare's Villains is a one-man play, created and performed by Steven Berkoff. Following its first run at London's Theatre Royal, Haymarket (7 July – 8 August 1998) where it was produced by Berkoff's East Productions and Marc Sinden (who also co-directed), it was nominated for The Society of London Theatre Laurence Olivier Award for Best Entertainment. Performed around the world by Berkoff since 1998, the piece explores and analyses Shakespeare's most villainous characters, including Iago, the Macbeths, Shylock and Richard III – characters who are inherently evil and whose situation leads them to do evil deeds, or who are at the mercy of an evil society.
On the day of William Shakespeare’s funeral, Anne Hathaway receives and resists reading his will. She recalls their private marriage, his life in London, and her struggle to protect their children during plague; the bequest of the second-best bed turns her grief into anger and a decision to make a life of her own.
Friends and relations of a dead girl are offered the chance to resurrect her, but fail.
A cultured thief breaks into Clara and Charles’s home expecting valuable art, but finds poor-quality objects. When the couple return, he warns that their lack of genuine artworks will disgrace them.
A group of teachers rehearsing a mock trial asks a local stagehand to fill in for an absent actor. The improvised courtroom game turns accusatory when the group charges Miss Benare with infanticide and exposes her pregnancy by a missing professor.
Two blind brothers hope to marry but are repeatedly rejected. Their strict father wants them to become beggars, while their flirtatious grandfather pursues a fourth marriage; a journalism student interested in writing about beggars seeks to interview one of the brothers.
She Follows Me About is a comedy play by the British writer Ben Travers. A farce, it premiered at the Theatre Royal, Birmingham before transferring to the Garrick Theatre in London's West End where it ran for 196 performances between 15 October 1943 and 18 March 1944. The West End cast included Robertson Hare, Basil Radford, Joyce Heron, Percy Parsons, Gordon James, Aubrey Mallalieu, Pauline Tennant and Catherine Lacey. The plot revolved around a Vicar who unwittingly discovers that his camera has photographs of two nude WAAFS on it, taken as part of a mischievous dare. In 1970 it was adapted by the BBC for an episode of Ben Travers' Farces featuring Arthur Lowe. It was the only one of seven episodes not be based on one of the playwright's pre-war Aldwych Farces.
Canadian lawyer Jason leaves his family to work with an anti-trafficking NGO in Thailand. He believes Number 18, a young girl enslaved in a Bangkok brothel, may have survived a deadly trafficking incident and could testify against the ring. As Jason tries to win her trust and rescue her, the brothel’s operators close in, and his efforts end in tragedy.
Agnes Evans is a completely average woman who strives to be nothing but average until the day she wishes her life were a little less boring. Her wish unfortunately comes true when her family, including her younger sister Tilly, dies in a car crash. Agnes was never close to Tilly because they were interested in completely different things; Agnes loved mainstream pop culture, while Tilly had a passion for everything classified as nerdy or geeky, with a special love for Dungeons & Dragons. As Agnes is cleaning and packing Tilly's room in order to move everything to her place, she finds a module Tilly had written for D&D. In order to get closer to the sister she never really knew, Agnes embarks on her own adventure with the help of Dungeon Master Chuck to play the game as Tilly designed. As she delves deeper into her quest, the fantasy world and reality begin to collide and mix as Agnes searches to connect with Tilly and realizes how much of her sister she never knew.
Kate Hardcastle learns that the shy Charles Marlow mistakes her family home for an inn. She disguises herself as a barmaid so he can speak freely with her, while Tony Lumpkin’s deception and a separate elopement plot involving Constance Neville and George Hastings drive a night of misunderstandings toward two marriages.
Charlotte and Juliana disguise themselves as men to test potential suitors. Charlotte, a wealthy heiress seeking love beyond her fortune, falls for Lovewell, while Urania and her husband devise a scheme to punish Squire Wouldbe for pursuing her. A tangle of disguises and mistaken identities leads to several reconciliations.
She Wanted a Cream Front Door is a 1947 comedy play by the British writer A.R. Whatmore. It ran for 129 performances at the Apollo Theatre in London's West End between 6 February and 31 June 1947. The cast included Robertson Hare, Peter Haddon, Sidney Vivian and Ian Carmichael. It was produced by Austin Melford.
Act One opens as Mr Courtall and his friend, Mr Freeman, are discussing the wickedness of London. A servant arrives to announce that Courtall has a female visitor. To protect the lady's honour he hides Freeman in a cupboard. The female visitor is Mrs Sentry, the maid of the middle-aged Lady Cockwood. She has come to announce the arrival in town of her mistress and master, Sir Oliver Cockwood, and to arrange a tryst between her mistress and Courtall. She (falsely) claims that she is there without Lady Cockwood's knowledge. Sentry is thrown into a panic when Sir Oliver comes to call on Courtall. The latter hides Sentry in a different cupboard. Sir Oliver has come to town for wine, women and pleasure after finding the country too dull. Courtall is not surprised but chastises him for breaking the heart of his “innocent” wife. Sir Oliver admits that she loves him too much, but it's OK as he will carry on behind her back, so she won't know. He then asks Courtall to try to persuade his wife to love him “a little less”. Courtall refuses to do so but agrees to dine with him and his friend Sir Joslin Jolley that evening. After he leaves, Sentry comes out of her cupboard. She is shocked at her master's falseness in cheating on his wife, before returning to arranging the meeting of Lady Cockwood and Courtall for the same evening. After she leaves, Freeman comes out of his cupboard. He is shocked that Courtall is going to meet both husband and wife on the same evening, before Courtall reveals that he has been repeatedly avoiding the advances of Lady Cockwood the whole time. He does not want to upset her, but not man above 16 is safe from her attempted advances. The scene then changes to the Cockwood's home, where Lady Cockwood is overdramatically regretting sending Sentry to arrange it all. When Sentry returns she begins to tell her mistress of all that has occurred, before she can finish Lady Cockwood begins to wail at her misfortune at being discovered. Sentry then finishes her tale and Lady Cockwood reveals she knows all about Sir Oliver's carrying on with younger women, and is happy enough as it allows her time to chase younger men. When Sir Oliver and Sir Joslin appear, Lady Cockwood feigns innocence and upset that her husband is going out for the evening without her. Sir Joslin tells her that they will not be out drinking. Sir Joslin's nieces, Ariana and Gatty arrive as Sir Oliver and their uncle depart. They notice that Lady Cockwood and Sentry are up to something. They agree they are both bored with being demure ladies and want to have some fun of their own. They agree to go in disguise to The Mulberry Gardens to find some young men to flirt with and break the hearts of. Act Two opens with the arrival of Courtall and Freeman at The Mulberry Gardens, having left Sir Oliver too drunk to notice their absence. They are there to delay Courtall's unwanted liaison with Lady Cockwood. Ariana and Gatty, disguised, enter the gardens, and repeatedly pass the men trying to get them to follow them. Some confused chasing amongst the bushes occurs between various combinations of the 4 young people. The men also disguise their true identities. Eventually some flirty banter ensues, the two girls giving as good as they get in witty repartee. With much teasing, the girls arrange to meet the men the next day. Meanwhile, Lady Cockwood is upset about Courtall's absence at the agreed time, and swears off him. When he appears this plan is swiftly abandoned for the original one of feigning knowledge of the meeting arranged by Mrs Sentry, who she sends out of the room. He continues to fend off her advances as he hasn't the time but agrees meeting the next day. Lady Cockwood then reprimands Sentry for leaving her alone with a man and risking her honour. Sentry (in aside to the audience) reveals that if she leaves the room she gets told off, but if she stays in the room she doesn't get spoken to for a week. Ariana and Gatty arrive to be told off by Lady Cockwood for walking in The Mulberry Gardens without a chaperone and risking their honour. This is quickly overtaken by the drunken arrival of Sir Oliver, Sir Joslin, Courtall and Freeman. The latter two recognising the young women's clothing. Courtall is worried they will tell Lady Cockwood of his flirting. A very drunk Sir Oliver rejects his wife's kiss, saying that he'd rather find himself a wench. Lady Cockwood goes into hysterics and the company sympathises with her as the innocent spouse. She whispers to Courtall that this scene will be very helpful in being free to sneak out to cheat on her husband with him. The four young people discuss their earlier meeting in The Mulberry Gardens. Act Three begins the next day at The New Exchange (Britain's Bourse). Freeman offers to help Courtall avoid Lady Cockwood, whilst they pursue Ariana & Gatty. They agree that settling down is too boring. Freeman leaves and Lady Cockwood and Mrs Sentry arrive. Courtall asks her why she has brought her maid to their assignation. Hypocritically she says that she never goes anywhere without her and would deny herself all pleasures if it risked her reputation. She doesn't mind doing naughty things, but no one must suspect she does them. Ariana & Gatty arrive, the other two pretend to have met by chance. Courtall again postpones his meeting with Lady Cockwood until the next day. The young women tease him about their meeting at The Mulberry Garden. The party heads off to The Bear Inn. Elsewhere Sir Joslin comes to call on Sir Oliver to take him to a party. However, Lady Cockwood has locked away all of his fine clothes except his Sunday church outfit, so he cannot go out to be seen by the young women of the town. Sir Joslin persuades him to come along to the party at The Bear Inn, which Lady Cockwood will never find out about. On arriving at The Bear, Courtall assures Lady Cockwood that her husband will never know of their trip there. As they are shown to a room, the waiter mentions that Sir Joslin and Sir Oliver will be next door looking enjoying drinks and female company. Lady Cockwood doesn't want to be discovered, but also doesn't want her husband to get up to his tricks. Sir Joslin and Sir Oliver arrive and head to their room to await the arrival of Sir Joslin's friend, Mr Rakehell, who is bringing the girls of easy virtue. When he arrives, Rakehell laughs at Sir Oliver's outfit. They swap clothes, for a moderate sum. Music and dancing begin and both parties end up mixed together, the ladies all in masks. When Lady Cockwood hears her husband boasting of him impending success with Rakehell's harlots, she feigns a fit and collapses. Sir Oliver realises who the women are, and his wife comes out of her fictitious faint and goes into an overly dramatic portrayal of the wronged wife and victim of all these goings on. She then reveals all her secret behaviours, but hypothetically, in her arguments towards her husband. She again relapses into a fake faint. Sir Oliver apologizes, whilst secretly arranging to meet the harlots the next day at the new Spring Gardens (the original name for Vauxhall Gardens). Act Four opens with Lady Cockwood revealing a new plan to Sentry. She has sent fake letters from Ariana and Gatty to Courtall and Freeman arranging meetings. This is to test how true Courtall's affections are for her, based on whether he accepts the young girls invitation or not. Sir Oliver enters the room, and his wife feigns yet more innocence and devotion to him. He also feigns unfailing devotion to her. She tells him that she is only civil to Courtall because he is a friend of her husband but believes (or so she tells her husband) that he has misconstrued her politeness towards him as something more scandalous. This transpires to be a plan to keep him away from meeting Ariana and Gatty at the Cockwood home. The girls arrive on their way to Spring Gardens when Lady Cockwood tricks them into revealing that Courtall was with them in The Mulberry Garden the previous night, whilst damaging their opinion of him. After they leave, Lady Cockwood also heads to Spring Gardens to see whether Courtall will accept the fake invitation. At Spring Gardens Sir Joslin, Sir Oliver and Rakehell are up to no good, drinking, singing and attempting to go wenching. Courtall and Freeman arrive and discover that the letters they both received are identical. They discuss his continued avoidance of Lady Cockwood, until interrupted by the arrival of Ariana and Gatty. When they meet, the men believe (as they have arrived together) that the letters are genuine invites to meet. The girls on the other hand believe Lady Cockwood's version that the men are dishonourably in the gardens looking for fun with other women. A conversation of cross purposes ensues, that increasingly convinces and entrenches all parties in their assumptions, until one of them mentions the letters. Lady Cockwood and Sentry arrive, the discovery of their involvement with the letters is only avoided by the appearance of a drunk Sir Oliver attempting to fight Courtall to defend his wife's honour. Act Five begins at the Cockwood home. Lady Cockwood is attempting to salvage the situation by obtaining the letters. Freeman comes to call, but in the middle of his visit Courtall arrives, so Freeman has to hide in the cupboard. When Courtall asks what he has done to offend her and Sir Oliver, she flies into vague and overly dramatic denunciations of him and the harms he has done her. He is confused by her sudden change of heart towards him, but in the middle of his visit Sir Oliver returns home, so Courtall has to hide under the table. Sir Oliver is very apologetic. His wife is more concerned that he may discover that she has two men hidden in the room. Whilst his back is turned, Courtall moves from under the table to the wardrobe with Freeman.
She Would and She Would Not is a 1702 comedy play by the English actor-writer Colley Cibber. The original Drury Lane cast included Cibber as Don Manuel, Benjamin Husband as Don Philip, John Mills as Octavio, William Pinkethman as Trappanti, William Bullock as Soto, Susanna Verbruggen as Hypolita, Mary Hook as Rosara, Henrietta Moore as Flora and Frances Maria Knight as Viletta. Incidental music was composed by Jacques Paisible. Cibber dedicated the play to the Duke of Ormonde, attributing the play's success to the delirious public mood following the recent victory at Vigo. The play was revived frequently. In 1800 during a performance at Drury Lane James Hadfield attempted to assassinate George III.
After her seventeen-year-old daughter is killed while volunteering in Tiananmen Square, a mother hides the truth as friends and colleagues withdraw. Twenty-five years later, visiting Hong Kong, she meets a student supporting Occupy Central and the Umbrella Movement and fears he will suffer the same fate; contact with the Tiananmen Mothers forces her to face the crackdown again.
She's Done It Again is a 1969 comedy play by the British writer Michael Pertwee. A farce, it ran at the Garrick Theatre in London's West End from 15 October 1969 to 23 May 1970. This marked a shorter run than any of the Whitehall farces that star Brian Rix had appeared in, although it received considerably better reviews. Aside from Rix the London cast included Margaret Nolan, Anna Dawson, Leo Franklyn, Derek Royle, Robert Dorning, Michael Kilgarriff, Hazel Douglas and Anthony Sharp. A subsequent UK tour (31 August to 28 November 1970) involved some cast changes, including Valerie Leon replacing Margaret Nolan and Leonard Trolley substituting for Anthony Sharp.
In a hair salon, an audience participates in investigating the murder of the landlady, questioning characters and voting on the killer. The ending varies by performance, with actors improvising the reveal.
A burlesque of William Gillette's Sherlock Holmes, the play renames and caricatures its characters as Sheerluck Jones and Professor MacGillicuddy. Failed detective deductions, an egg-whisk safecracking gag and a gas-chamber scheme turn the original's melodramatic incidents into comic set pieces.
Sheikh Sanan, a Muslim scholar, falls in love with Khumar, a Georgian Christian woman. Their love drives him to reject religious divisions and defy the fanatics who persecute them; the pair finally find salvation in death. The verse tragedy sets ideal love and humanity against dogma and violence.
A Union officer and a Southern woman are separated by the outbreak of the Civil War, then meet again as she is captured after carrying dispatches for the Confederacy. Their story intersects with a disgraced colonel’s son, who undertakes a dangerous mission behind enemy lines and dies without his father learning his identity; the final act reunites the surviving lovers after the war.
Sheppey (1933) was William Somerset Maugham's last play, written at the age of 59 and after he had reached distinction as a novelist and playwright. Maugham dedicated the book to Sir John Gielgud. It is the story about the change of fortune of hairdresser Joseph Miller who was born on the Isle of Sheppey, Kent and nicknamed "Sheppey." The play is set in the 1930s. Sheppey, a hard worker at the same establishment for 15 years, wins a subsidiary prize in the Irish Lottery of £8,500 but does not take to his win with the same style that most others would – and to which most, including his boss, his wife or his daughter and her fiancé (a teacher given to believing that he is more educated than most) – expect him to. The play was written in 1932 and first produced at the Wyndham's Theatre London on 14 September 1933 with a cast that included Ralph Richardson, then aged 31, and Laura Cowie who had been a star of the silent movies. Following the production of Sheppey, Maugham publicly declared that he would write no more plays, a promise he kept until his death in 1965. Nevertheless, he continued to write numerous short stories, novels, articles, and other works.
Alice Faulkner is held by the Larrabees, who want to sell letters proving her late sister’s affair with Sir Edward Leighton. Leighton hires Holmes to recover them, while Professor Moriarty joins the scheme to seize the papers and capture his rival. Holmes frees Alice and leaves the documents with her, leading to their engagement.
When performers begin dying during West End shows at Christmas, Sherlock Holmes finds a connection to the carol The Twelve Days of Christmas. He races to stop the killer with help from Dr. Watson and rival detective Athena Faversham.
In the modern version, a warrior called Kamakura Gongorō Kagemasa interrupts the execution of imperial prisoners by an usurping lord. He defeats the lord's forces and secures the prisoners' release through a display of theatrical bravado, speech, and swordplay.
The play follows the years-long love story between Dre and Des (short for Destiny), who first met at high school in South London and brought together by the school's debating club. while his estranged mother lives in Nigeria. Des goes on to become a conceptual artist based in America while Dre remains in England, working as a restauranteur. Over a decade later, the two protagonists reconnect at Dre's grandmother's funeral back in England, bringing up sparks of the past and thoughts of the future.
A solo performer tells of two boys who befriend each other in a harsh Midwestern juvenile detention center in 1956. They invent a fantasy language called shimmer to endure the institution, but are eventually confined and plan an escape; the play draws partly on O’Keefe’s own experiences.
Widower John visits Ian, a therapist, claiming he has seen his dead wife in their home. Ian, a former priest struggling with lost faith, leaves his partner and child as both men try to understand their experiences and find another life.
Wondering what has happened to her youth and feeling stagnant and in a rut, Shirley feels as if her family treats her more like a servant and she finds herself regularly alone and talking to the wall while preparing an evening meal of "chips and egg" for her emotionally distant husband. When her best friend wins a competition for two to Greece, she packs her bags, leaves a note on the cupboard door in the kitchen, and heads for a fortnight of rest and relaxation. In Greece, with just a little effort on her part, she rediscovers everything she had been missing about her existence in England. She finds so much happiness, in fact, that when the vacation is over she decides not to return, ditching her friend at the airport and going back to the hotel where she'd been staying to ask for a job and to live a newly self-confident life in which she is at last true to herself.
A stage biographical portrait of Shirley Porter, adapted from the radio drama, with Jessica Martin playing Porter.
The show is a domestic comedic drama, and exploration into the relationships between three couples and the secrets they have behind their phones. One night at a party to watch an eclipse, they play a game in which they place their phones on the table and have to read aloud or show every text or message that comes in on their phone.
In the fictional Essex new town of Draylingstowe, two families’ lives unfold across roughly twelve years through 17 scenes presented out of chronological order. The nonlinear fragments expose fractures in families, friendships and community, and blur reality with fantasy.
A non-musical stage adaptation of Singer’s Chelm stories about the supposedly wise men of the legendary town and the fool Shlemiel.
Shmendrik is a clueless, poor student whose mother arranges his marriage to a young woman who is already in love with someone else. The play follows her efforts to evade the match and reunite with her beloved.
In consumerist London, a group of young people treat sex, drugs, violence and even intimacy as transactions, testing what remains of human attachment when buying and selling become their moral code.
Shore Acres is four-act a play written by James A. Herne. The play debuted at McVicker's Theater in Chicago on May 23, 1892, initially under the title Shore Acres Subdivision. Later in the Chicago run, it was retitled Uncle Nat. In February 1893, the play opened as Shore Acres at the Boston Museum, where it ran for several months. Following the play's success in Boston, Henry C. Miner staged it on Broadway, where it opened at the Fifth Avenue Theatre on October 30, 1893.
A comedy about a group of adulterous lovers facing complications.
The play is set in an unnamed House of Detention in New York City, the inmates of which are predominantly black or Latino. One day, a new prisoner is brought in: Clark Davis, a young, middle-class white man accused of raping a young girl. His fellow prisoners immediately turn on him — child molesters are considered the lowest form of prison life — except for Juan, one of the institution's older prisoners, who treats him with dignity. While Davis insists he doesn't remember raping the girl, he admits that he has molested several other children. It is eventually revealed that the police's case against Davis is weak, and he will likely be released. This puts Juan in a difficult position: on one hand, he feels a grudging pity for Davis, and "snitching" on another prisoner, even one as despised as Davis, could get him killed; on the other, there is no doubt in his mind that Davis will "scar up some more little girls' minds" if released. Before he can decide what to do, however, Davis is attacked and killed by the other prisoners. The play also revolves around other features of prison life, such as the day-to-day attempts to accumulate privileges from the guards and "rap sessions" in which prisoners joke, flirt, and threaten each other.
On the edge of London, the play follows troubled teenager Christine and her mother Mrs Forsythe as they struggle to survive together under the pressure of unemployment and recession. Suspended from school and facing possible detention, Christine’s defiance intensifies the conflict at home.
In this autobiographical performance, Lou Bennett recounts her life, including coming out to her family, her first live performance, moving to the city and her time with the band Tiddas.
Yashoda Borkar, a bank employee, presses her teenage son Shyam to focus on school because she wants him to become a doctor. Her husband Anand is an unsuccessful singer and music director, and Shyam's neighbor consistently earns better grades despite taking part in sports.
During a post-show discussion after controversy forces a production of The Merchant of Venice to close early, Jewish actor Jon Davies explains why he played Shylock as a villain. As he removes his costume piece by piece, he argues that theatre should remain provocative even when it challenges audiences.
The play starts in the 1950s and follows the family through the next 35 years. The play's narrator is Clifford Glimmer, the only son of Gene, a talented but self-absorbed jazz trumpeter, and his alcoholic wife Terry, who describes the tumultuous relationship his parents shared and the haphazard career journey Gene followed over the course of three decades. Dedicated more to his music than his family, he refuses to accept a regular job to support them, and their home life gradually unravels. Clifford eventually assumes the role of breadwinner his father has forsaken and offers his mother the emotional support Gene cannot. Scenes alternate between the family's Spartan New York City apartment and the smoke-filled nightclubs and cabarets of another era.
An idealistic pawnbroker is caught up in Germany's hyperinflation. Kaiser shifts from his earlier Expressionism toward rounded characterization, realistic clipped dialogue and a light-hearted story of the crisis.
War veteran Feuerstaak’s return to civilian life is disrupted when his former orderly Philipp gathers surviving comrades for a march back to Siebenstein, where their company’s dead lie. The summons sets loyalty to fallen comrades against remaining at home with family.
During the Spanish Civil War, a band of loyalists holds out in a mountain fortress near Madrid. Their resistance reimagines the historical siege of the Alcázar with the political loyalties reversed.
An amnesiac French soldier and writer becomes a celebrated German national hero after a nurse raises him as German. A French lover and a defender of German traditions try to restore his memory, exposing competing ideas of identity and belonging.
Sight Unseen is a play by Donald Margulies. The play premiered at South Coast Repertory in 1991, and then was produced Off-Broadway in 1992 and on Broadway in 2004.
In present-day New York, four friends in their late twenties search for relationships as their lives change. Jordan pines for a partner while the women in his close-knit circle pair off, forcing him to confront the life he hoped to have and the changes beyond his control.
This three-play cycle follows Sigurd, a 12th-century claimant to the Norwegian throne: he discovers his royal parentage and leaves for the Crusades, returns to Caithness and Orkney where his ambition brings disaster, then comes home to seek recognition, raises a revolt, and dies in defeat.
In 1122, the young Sigurd prays to learn who his father is. His mother reveals he is the illegitimate son of King Magnus Barefoot; Sigurd vows to claim his right to the throne and leaves to join the Crusades.
In 1136, Sigurd returns to Stavanger seeking recognition from his half-brother, King Harald Gille. After nobles imprison him and plot his death, Sigurd escapes, kills Harald, and raises a revolt; before his defeat and death in 1139, he bids farewell to his mother.
Five years after leaving Norway, Sigurd serves Harald, Earl of Caithness, and loves Harald’s niece Audhild. Sigurd’s ambition for power brings bloody disaster to the noble families, and he decides to leave on another Crusade.
A three-character one-act play that uses both spoken language and pauses to suggest an underlying, withheld communication. Pinter describes speech as a means of covering a deeper silence, leaving the characters’ relationships and unspoken meanings to resonate beneath their words.
Set in Canterbury and Cumbria in a reimagined Dark Ages England, the play follows Silence, Lord of Cumbria, a woman living in disguise, alongside a priest, a king, a Norman princess and her household. Buffini draws on medieval history while engaging concerns of the new millennium.
Two teenagers, one Aboriginal, attend a Sydney public school.
The play follows a peasant family in the Anatolian mountains through the turbulent decades of the 1960s and 1970s in modern Turkish history.
Five elderly residents of a Gravesend retirement home face the threat of flooding.
Sir Robert and Lady Lydia Marlowe have spent many years abroad in the diplomatic service. On the morning of their twenty fifth wedding anniversary she announces that they should go their own separate ways. Her present for the wedding is a series of love letters he had written to different women throughout his career, each of whom she befriended.
Marija and Salih’s love story unfolds against the Srebrenica tragedy, as they become victims of the war’s circumstances. The bilingual play seeks to tell a personal story without reducing its subject to political generalities.
Three young associates rig a horse race and blackmail an official. Twenty years later, the scheme resurfaces as one of them tries to recover the original blackmail material from his former partners.
Two street musicians are mistakenly appointed as bodyguards for a scientist carrying a supposedly vital invention. They blunder through disguises and spy threats in Dover, while incompetent army officers and MI5 agents compound the confusion until the invention proves to be a carpet shampoo.
A tragic incident exposes conflict between petty tradespeople and the nobility, contrasting the upright Krasnov with the weak-willed nobleman Babayev.
At a Christmas reunion, former Illinois college friends confront the consequences of their 1930s political beliefs. A brilliant mathematician who once supported Soviet Russia has become dispossessed and is shut out of jobs, housing and social life because of his associations.
Single Spies is a 1988 double bill written by the English playwright Alan Bennett. It consists of An Englishman Abroad and A Question of Attribution, the former an adaptation of a television play the author had written for the BBC in 1983. Both plays depict members of the Cambridge spy ring and touch on their moral, political and aesthetic beliefs: the first shows Guy Burgess in exile in Moscow in 1958, seven years after absconding from Britain. The second focuses on Sir Anthony Blunt while he still holds high office in the Royal Household although known to the security services as a former Soviet agent. The title comes from a speech in Hamlet: ‘When sorrows come, they come not single spies, but in battalions.’ The double bill was presented at the National Theatre in December 1988, and transferred to the Queen's Theatre in the West End in February 1989.
Steven Berkoff’s verse satire dramatizes Margaret Thatcher’s decision to torpedo the Argentine cruiser General Belgrano during the 1982 Falklands War, using parodic figures representing British political and military leaders, sailors and farmers.
Sir Anthony Love; Or, The Rambling Lady is a 1690 comedy play by the Irish writer Thomas Southerne. It was originally staged by the United Company at the Theatre Royal, Drury Lane with a cast that included Susanna Mountfort in a breeches role as Sir Anthony Love, William Mountfort as Valentine, Joseph Williams as Ilford, William Bowen as Sir Gentle Golding, Anthony Leigh as An Abbe, John Hodgson as Count Canaile, Samuel Sandford as Count Verole, George Bright as Waitwell, Colley Cibber as Servant to Sir Gentle, Charlotte Butler as Floriante, Anne Bracegirdle as Charlote and Frances Maria Knight as Volante. The play's incidental music was composed by Henry Purcell.
Sir Barnaby Whigg; Or, No Wit Like A Womans is a 1681 comedy play by the English writer Thomas D'Urfey. It was first staged by the King's Company at the Theatre Royal, Drury Lane. A song for the play was composed by Henry Purcell. The original cast included Thomas Clark as Wilding, Cardell Goodman as Townly, Philip Griffin as Porpuss, Martin Powell as Whigg, John Coysh as Swift, Carey Perin as Benedick, Mary Corbett as Gratiana, Sarah Cooke as Livia and Susanna Percival as Winifred. The published version was dedicated to the politician Lord Berkeley.
Clamydes sets out to kill a dragon to win Juliana, while her brother Clyomon takes his place at knighting and embarks on his own adventures. Clyomon falls for the princess Neronis, who disguises herself as a boy; after magical dangers, mistaken identities and a rivalry between the knights, the two men reconcile and both couples plan to marry.
Sir Courtly Nice: Or, It Cannot Be is a 1685 comedy play by the English writer John Crowne. Rehearsals by the United Company were underway when the death of Charles II in February led to the closure of all theatres as a mark of respect. The play was eventually staged on 9 May at the Theatre Royal, Drury Lane. It is the tradition of the Restoration Comedy. A popular hit, it became a stock part of the repertoire for more than a century, with Colley Cibber and Anne Oldfield appearing in a celebrated 1709 revival. The original cast included William Mountfort as Sir Courtly, Cave Underhill as Hothead, Thomas Gillow as Testimony, William Mountfort as Lord Beaugard, Philip Griffin as Surly, Anthony Leigh as Sir Nicholas Callico and Elizabeth Barry as Leonora. Crowne made an attempt to balance the politics of the time by creating a Hothead, a hardline Tory character to balance out the Puritan Whig zealot Testimony but the play still revealed the author's underlying support for the Tory position. The published version was dedicated to the Duke of Ormonde.
The melancholic poet-lover Clarence is helped by Lord Momford to recognize his bond with Countess Eugenia. Around them, humours-comedy figures include the Francophile Captain Foulweather and waggish servants.
Sir Harry Wildair is a 1701 comic play by the Irish writer George Farquhar. It is a sequel to the 1699 hit The Constant Couple, portraying the further adventures of the most popular character from the earlier play. The original Drury Lane cast included Robert Wilks as Sir Harry Wildair, John Mills as Colonel Standard, Benjamin Johnson as Captain Fireball, Colley Cibber as Marquis, William Pinkethman as Clincher, Henry Norris as Dicky, Henry Fairbank as Shark, Thomas Simpson as Lord Bellamy, Susanna Verbruggen as Lady Lurewell, Jane Rogers as Angelica and Jane Lucas as Parly. Farquhar, an Irish Protestant from Derry, dedicated the play to William of Orange.
The play portrays Oldcastle as a religious but politically loyal dissenter who remains faithful to the Crown and Henry V. The Bishop of Rochester and his summoner pursue Oldcastle and his wife, while conspirators remain separate from him; the Oldcastles evade imprisonment, ending the extant play on a temporary positive note. The planned second part, which would have depicted Oldcastle's execution, is lost.
To impress his mistress Millicent, foolish Sir Martin pretends to play the lute, miming and strumming silently while another character secretly supplies the music. His continuing performance after the concealed player stops exposes the fraud in this Restoration comedy.
Young Lucia marries the hypochondriacal Sir Patient Fancy because she and her lover Charles Wittmore are poor. Lucia and Wittmore carry on an affair under Sir Patient's nose, then reveal their relationship; Lucia, now in control of his money, looks forward to life with Wittmore.
Sir Salomon; Or, The Cautious Coxcomb is a 1670 comedy play by the English writer John Caryll. It has often been staged under the title Sir Solomon Single. It was first performed by the Duke's Company at the Lincoln's Inn Fields Theatre in London. It is part of the tradition of Restoration comedy. The original cast included Thomas Betterton as Sir Solomon, Henry Harris as Peregrine Woodland, William Smith as Single, Samuel Sandford as Wary, Cave Underhill as Timothy and Mary Betterton as Julia.
The play follows Thomas More through his response to the 1517 Ill May Day riots, his service as Lord Chancellor, his refusal to sign the king's articles, and his execution. It dramatizes law, obedience, and conscience while altering or expanding historical events.
Sir Thomas Overbury is a 1723 tragedy by the British writer Richard Savage. It is based on the life of Thomas Overbury an associate of the Jacobean royal favourite Robert Carr whose apparent murder while incarcerated in the Tower of London provoked a trial and major scandal. Savage played the title role himself when it was staged at the Drury Lane Theatre. Other cast members included Roger Bridgewater as the Earl of Northampton, Theophilus Cibber as the Earl of Somerset and a Mrs. Bret as Isabella. Aaron Hill produced and revised the text of the play. It was published in October 1723. Historian Richard Holmes said the work is "clumsy, sub-Shakespearean, historical melodrama". (Whether any historical play from that period is not "sub-Shakespearean" is, of course, debatable.) Before his death, Savage completed a new version of Sir Thomas Overbury. In his Life of Mr Richard Savage (1744) Samuel Johnson described this version of the play as preserving only "a few lines" of the original, as having "a total alteration of the plan"—with "new incidents, and introduc[ing] new characters; so that it was a new tragedy". This revised version of Sir Thomas Overbury was first produced and published in 1777.
After Edward VI’s death, Northumberland secures the throne for Lady Jane Grey, while Thomas Wyatt urges Mary to assert her claim. When Mary becomes queen and accepts a Spanish marriage, Wyatt rebels from Kent; the uprising fails, and Wyatt, Jane and Guildford Dudley are executed.
Sir Walter Raleigh is a 1719 tragedy by the British writer George Sewell. It is based on the downfall of Walter Raleigh a successful courtier and sailor in the reign of Elizabeth I who was executed in the reign of her successor James I. It was originally staged at the Lincoln's Inn Fields Theatre, one of the two patent theatres operating in London. The original cast featured James Quin as Walter Raleigh, Lacy Ryan as Howard, John Leigh as Young Raleigh, John Corey as Salisbury, Christopher Bullock as Gundamor, Thomas Smith as Sir Julius Caesar, John Egleton as Carew, John Ogden as Wade, Anna Maria Seymour as Lady Raleigh and Jane Rogers as Olympia.
Liz is hired to seduce local councillor Billy Nottle, who is suspected of taking bribes from developers.
A Tulu drama based on the Epic of Siri, covering the first part of the story through the death of Siri.
At a hotel in northern Italy, bored Englishwoman Lucy meets Sirio, a local painter, while her husband plans to leave for business. After falling in love with Sirio, she separates from her husband; when Sirio later leaves to help his mother, Lucy declares herself free but is uncertain about what comes next.
At a Christmas lecture, a nun named Sister Mary Ignatius explains to the audience the basic tenets of Catholicism. She is assisted by her favorite student, seven-year-old Thomas. From time to time, she asks him catechism questions and gives him a cookie for every right answer. Her speech is interrupted when four of her former students Gary Sullivan, Diane Symonds, Philomena Rostovich, and Aloysius Benheim enter dressed as Saint Joseph, the Virgin Mary, and two halves of a camel. The four remind Sister that she had asked them to come perform the pageant they had performed when they were students in her class. After the pageant, it becomes apparent that the four have strayed from Mary Ignatious's teaching: Diane has had two abortions (the first one from a rape at age 18); Philomena is an unwed mother; Aloysius is an alcoholic who beats his wife and contemplates suicide; Gary is gay. They reveal that they were never asked to come in and merely wanted Mary Ignatius, because they each have a reason for hating her: Aloysius was refused bathroom privileges frequently and now has bladder problems; Philomena was hit for being a poor student; Gary is there on behalf of his boyfriend Jeff; and Diane had believed Mary Ignatius's teachings until her mother died of breast cancer and she was raped the same day. Diane reveals that she has brought a gun to kill Sister, something the other three were not aware of. Sister grabs a gun from behind her lectern and shoots Diane in self-defense. She also shoots Gary, proclaiming that she has sent him to heaven, as he'd been to confession earlier that day. She then points the gun at Aloysius, who needs to go to the bathroom, before handing it to Thomas so she can take a nap. The play ends with Thomas pointing the gun at Aloysius while explaining the perfections of God, Diane and Gary's dead bodies on the floor, and Sister asleep.
Sisters Abigail and Dorcas compete for the attention of Simon, their brother’s fiancée’s brother. A coin toss and a later decision by the actors determine which sister ultimately ends up with him.
Ann and Evelina share a modest life in turn-of-the-century New York. The arrival of a clockmaker unsettles their close relationship, testing the sacrifices and expectations that have held the sisters together.
An Urdu stage dramatization based on the Ramayana and centered on Sita.
In rural County Kerry, poverty and greed lead relatives to arrange orphaned Sive's marriage to an elderly wealthy man against her wishes and separate her from her suitor; the tragedy ends with Sive's death by drowning.
The play concerns Joan, illegitimate daughter of King John of England, and her marriage to Llywelyn the Great. At their royal home in Abergwyngregyn in 1230, William de Braose is discovered with Siwan in Llywelyn's bedchamber and is hanged for adultery. The drama also treats reconciliation, forgiveness and marital harmony.
Six unfinished fictional characters interrupt a theatre company's rehearsal and ask its director to stage their story. As actors attempt to reproduce their scenes, arguments over truth and performance intensify, and the family's story ends with a child's drowning and a boy's suicide, leaving the director unsure whether the events were real.
Lily Harrison is a self-described "tight-arsed old biddy" As the lessons continue, an improbable friendship develops out of their shared testiness and solitude.
A young black man named Paul shows up at the home of art dealer Flan Kittredge and his wife Louisa, known simply as "Ouisa", who live overlooking Central Park in New York City. Paul has a minor stab wound from an attempted mugging, and says he is a friend of their children at Harvard University. The Kittredges are trying to get the money to buy a painting by Paul Cézanne, and now have this wounded stranger in their home. Paul claims he is in New York to meet his father, Sidney Poitier, who is directing a film version of the Broadway musical Cats. Paul continues to charm them with his story, though in reality, it is all a lie: Paul is no Harvard student and obtained details on the Kittredges from a male student he had seduced. Eventually Paul uses their home for an encounter with a hustler, but is caught red-handed. The police are called, but Paul escapes. Soon after, Paul starts up another con against a sensitive young man named Rick and his live-in girlfriend, Elizabeth. The naive young couple are new to the big city having just moved to New York from Utah and, based on Paul's con, invite him to live with them until he gets everything sorted out with his wealthy father—who Paul tells them is Flan Kittredge. The trio become good friends, with Paul spinning a tale of being estranged from his racist father, but still, the girlfriend tells Rick not to lend Paul any money. One night Paul takes Rick out on the town and seduces him in order to get the money. Later that night, Rick tells Elizabeth that Paul is gone, that he has all their money, and that he and Paul had sex. In a fit of fury, she cruelly suggests that Rick's father had always questioned his son's sexuality. Soon afterwards Rick commits suicide. In desperation, Paul calls the Kittredges for assistance. Partly due to strained relations with her children, Ouisa finds herself feeling emotionally attached to Paul, hoping to be able to help him in some way despite the fact that he has victimized them. Over a protracted and laborious phone call, he agrees to give himself up to the police; however, during the arrest, he and the couple are separated. Despite their efforts—Ouisa's more than Flan's—his fate is unresolved, except for a possibly tragic end. Towards the end of the play, in a climactic moment of reflection, she delivers the play's most famous monologue:
A theatrical set of 66 short plays, each responding to a book of the Protestant Bible, commissioned for the Bush Theatre’s reopening and the King James Version’s 400th anniversary.
A legendary-historical tragedy about young Siyavush, raised in heroic traditions and committed to fairness. He seeks truth in Iran and Turan, but dies understanding that justice can be found only through struggle against despotism.
The play opens in the photography studio of a man named Styles. The studio is located in New Brighton, Port Elizabeth, South Africa. After reading a newspaper article on an automobile plant, Styles tells a humorous story to the audience about an incident that occurred when he worked at the Ford Motor Company. Styles continues to read the paper and talks about his photography studio. His musings are interrupted when a customer, Sizwe Banzi, arrives. He asks to have his picture taken, but when Styles asks him for his deposit and name, Sizwe hesitates, then says his name is Robert Zwelinzima. Styles asks Sizwe what he will do with the photo, and Sizwe tells him he will send it to his wife. When the picture is taken, the moment is frozen into what the photograph will look like. It comes to life and Sizwe dictates the letter to his wife that will accompany the photo. In the letter, Sizwe tells his wife that Sizwe Banzi is dead. He writes that when he arrived in Port Elizabeth from their home in King William’s Town, he stayed with a friend named Zola who tried to help Sizwe find a job. His employment search was unsuccessful; as a result, he was told by the authorities that he must leave in three days. Sizwe went to stay with Zola’s friend, Buntu. The play returns to the present time. Staying at Buntu’s house, Sizwe tells Buntu about his problems — unless a miracle happens, he will have to leave town in three days. Buntu is sympathetic to the problem and suggests he work in the mines in King William’s Town. Sizwe rejects the idea as too dangerous. Buntu decides to take him out for a treat at Sky’s place, a local bar. The focus switches back to Sizwe as he continues to compose the letter to his wife. He describes his experiences at Sky’s shebeen, where he was served alcohol by a woman in a respectful manner. The scene shifts to the outside of Sky’s after Sizwe and Buntu have been drinking. Buntu decides that he needs to get home to go to work tomorrow. He goes into an alley to relieve himself and finds a dead man there. Sizwe wants to report the body to the police. Buntu rejects the idea, but he retrieves the dead man’s identity book to find his address. Buntu finds that the man, named Robert Zwelinzima, has a work-seeker’s permit — the very thing that Sizwe needs to stay in town. They take the book. At Buntu’s house, Buntu switches the photographs in the books. He proposes that they burn Sizwe’s book — effectively making him dead — and have Sizwe adopt the dead man’s identity so he can stay in Port Elizabeth. Sizwe is unsure about the plan; in particular, he worries about his wife and children. Buntu contends that they can remarry. After much discussion, Sizwe agrees to the switch. Sizwe finishes dictating the letter to his wife. In it, he tells her that Buntu is helping him get a lodger’s permit. The scene shifts back to Styles’ photography studio; Sizwe is getting his picture taken.
Set in Detroit in 2008, the play follows the workers of an automotive factory, known as the skeleton crew, led by Faye, currently experiencing homelessness. As a longtime employee and union representative who has spent 29 years on the line, she currently works alongside Dez and Shanita. When factory supervisor Reggie reveals that the factory is set to close, Faye must choose between protecting her own stability and standing in solidarity with her fellow workers.
An older woman’s relationship with a young surfer is opposed by her sister, placing the woman between desire, confusion and betrayal.
In 1938, Captain Joris Kuiper takes 146 Jewish refugees aboard his Dutch merchant ship. As ports refuse them entry and his crew grows desperate, Kuiper rejects smuggling them ashore and devises a plan to scuttle the ship during a yacht regatta so rescuers must take them in as distressed mariners.
Regent Skirgaila struggles to hold Lithuania's lands amid conflict with Poland and the Teutonic Order and pressure to Christianize. He forcibly marries Ona Duonutė to retain Lida, while the monk-knight Keller's attempted escape ends in sacrifice and Skirgaila's moral decline.
Marin Držić's Croatian adaptation of Plautus's Aulularia, retitled Skup and set in Dubrovnik.
At a railway settlement on the Nullarbor Plain, the arrival of a Jewish immigrant leads to his falling in love with a married woman.
East London school teacher Kyra Hollis is visited by Edward Sergeant and, later on the same night, his father Tom Sergeant. Kyra had been living with the Sergeant family years earlier but left after her affair with Tom was discovered by Tom's wife, who has since died. Edward now accuses Kyra of having left him as well, as he saw her as a big sister, and he demands to know why she left his life. Shortly thereafter, Tom, a wealthy restaurateur, with real-life references to Terence Conran, appears unheralded and for no apparent reason. Kyra's less-than-glamorous lifestyle leads him to poke fun at her to the point of insult, accusing her of self-punishment. After Kyra cooks a spaghetti dinner (which the actress cooks on stage), the talk turns to their relationship. It becomes clear that their chances to be rekindled rest on whether one of them can change preconceived notions of the other.
In Chicago, a group of people try to save an historic skyscraper from demolition; their lives converge on its rooftop amid memory, fantasy and a deepening mystery.
The three teachers at an isolated girls’ school vow to abstain from sex in protest against male dominance and abuse. Their competing motives and interpretations of the pledge create new power struggles, distract them from teaching, and leave the school without pupils.
In Liverpool nightclub The Palace, characters arrive expecting a night of fun and flirtation, but each has a different reason for being there. Their stories shift from comedy toward pathos, with problems resolved through a series of short vignettes.
At a modern slaughterhouse where work grows more dangerous as pay and benefits shrink, workers encounter Cod, a strange man urging them to act. The two-act drama moves nonlinearly through time as labor pressures disrupt relationships and Cod's conflict with the Sausage Man threatens the group.
At McGregor Plantation, a southern cotton plantation in pre-Civil War Virginia, the song "Work" by Rihanna plays in the overseer cottage. Kaneisha, a slave, begins to twerk to the song when Jim, a white slave owner, walks in holding a whip. Jim is repeatedly uncomfortable when Kaneisha calls him "Master," but berates her for not cleaning the room better and throws a cantaloupe on the ground and tells Kaneisha to eat it. As Kaneisha eats the cantaloupe, she begins to dance again, which confuses and arouses Jim. When she asks to be called a "nasty, lazy negress," he instead proceeds to perform cunnilingus. Phillip replies that he is unsure. Gary has Dustin lick Gary's boot clean; this causes Gary to orgasm. He starts crying and cannot be comforted by Dustin. They are on Day Four of the therapy, which focuses on fantasy play. Dustin begins by noting that Gary came, which he could not do before, but Gary counters that Dustin was uncomfortable in making his whiteness hyper-visible. Alana enjoyed the release of the fantasy and asks Phillip if he enjoyed it too, noting that he got an erection when he had trouble before. Jim begins to initiate foreplay and the music rises while Kaneisha continues that the relationship went downhill three years ago, when she stopped feeling sexual pleasure because she began to see him as foreign and frightening. She saw Jim's whiteness and power, and that he also has "the virus", because though he is not American, he benefits from being white while being unaware of the privilege that whiteness gives him. She says that Antebellum Sexual Performance Therapy and the fantasy play gave her a sense of peace because she feels the elders watching her again; the elders do not care that she is with "a demon / who thinks he’s a saint", but simply want the two of them to know he is a demon.
In Algiers, American captives and their allies plan escapes from the dey's palace and the household of Ben Hassan. Rebecca resists pressure to become his wife, while Olivia offers herself to spare the others; a slave uprising ultimately frees the prisoners, and Frederic rejects replacing one form of enslavement with another.
A theatrical reinterpretation of the Orpheus myth that combines geopolitical themes, Slavic ritual, and science-fiction elements.
The action begins in Moscow in March 1985 as Mikhail Gorbachev succeeds Konstantin Chernenko as general secretary of the Communist Party. Katherina is a feisty lesbian security guard at a Soviet archive facility that holds the brains of the USSR's late leaders. After getting her the job at the facility, Popolitipov (Jones), an apparatchik, attempts to woo her. Unfortunately for Popolitipov, she has already fallen for the oncologist Bonfila (Schulz), a descendant of one of the fathers of the revolution. Serge is a Bolshevik whose obsession with the future has deadly results. Vodya is a young girl that is dying from nuclear waste poisoning. She appears as both an apparition during a man's inebriated state and again in 1992 in Siberia but this time alive and mute. It is there in Siberia where Katherina and Bonfila confront the fallout and human misery caused by nuclear waste.
In a London boarding house for theatrical performers, a Romanian ventriloquist and student of black magic leaves his doll to his wife; after a series of accidents, she suspects the doll is responsible.
An immersive retelling of Macbeth unfolds through a cinematic film-noir world. Audiences move through the performance environment and follow the action at their own pace, encountering Shakespeare’s tragedy through physical storytelling rather than a conventional seated production.
The play is set in the Wiltshire manor house of Andrew Wyke, an immensely successful mystery writer. Wyke's home reflects his obsession with the inventions and deceptions of fiction and his fascination with games and game-playing. He lures his wife's lover Milo Tindle to the house and persuades him to stage a robbery of her jewellery. This proposal sets off a chain of events that leaves the audience trying to decipher where Wyke's imagination ends and reality begins. Shaffer said the play was partially inspired by one of his friends, composer Stephen Sondheim, whose intense interest in game-playing is mirrored by the character of Wyke, and by mystery writer John Dickson Carr, whose stories featured complex plots and seemingly "impossible" crimes.
The play interweaves survivors’ accounts of domestic violence on Native lands with a dramatized campaign to reauthorize the Violence Against Women Act. It follows Department of Justice employee Terri Henry and reservation police officer Dennis as jurisdictional limits obstruct protection for survivors and advocates work to secure federal legislation.
The play dramatizes the Dorak affair, following archaeologist James Mellaart after allegations that he stole or fabricated a valuable collection of Neolithic artifacts. It focuses on Turkish press efforts to recover the treasure and expose alleged corruption in Western archaeology.
Sly Fox is a comedic play by Larry Gelbart, based on Ben Jonson's Volpone (The Fox), updating the setting from Renaissance Venice to 19th century San Francisco, and changing the tone from satire to farce. The play revolves around the character of the very wealthy Foxwell J. Sly, and his indentured servant Simon Able. Sly has the town duped into believing that he is dying, and four citizens vie for his inheritance. Jethro Crouch is willing to will away his son’s inheritance to Sly on the promise that he receives Sly’s money after Sly has died; Abner Truckle solicits his wife to Sly under the impression that it will sway Sly to name him as his heir; Lawyer Craven defends the dignity of Sly in court after the Captain discovers him molesting Mrs. Truckle, for the same promise of riches; Merrilee Fancy, the most popular harlot in the bay town, finds herself in the family way and hopes to marry Sly for his wealth. None of them realize the trick, and even Able, Sly’s closest confidant and student, is unable to outfox the master of deception. It premiered on Broadway December 14, 1976 at the Broadhurst Theatre. Directed by Arthur Penn, the play featured George C. Scott, Bob Dishy, Hector Elizondo, Jack Gilford, Gretchen Wyler, and Sandra Seacat. Scott was succeeded by Robert Preston. According to his biography at tcm.com, Jackie Gleason was touring in the lead role of Sly Fox in 1978 when he suffered a heart attack and had to permanently leave the show, undergoing a triple bypass. The play was revived on April 1, 2004 at the Ethel Barrymore Theatre, again directed by Arthur Penn, featuring Richard Dreyfuss, Bob Dishy, Eric Stoltz, René Auberjonois, Professor Irwin Corey, Elizabeth Berkley, Rachel York, Peter Scolari, and Bronson Pinchot.
A motley group gathers in a seedy Southern California coastal bar: a troubled beautician and her lover, an alcoholic doctor, a short-order cook, the bartender, a washed-up screenwriter and a young traveler. Their individual confessional monologues form a kaleidoscopic portrait without a single dramatic arc.
Three former high-school friends gather after hours at Frank's remote repair shop for reasons only Frank seems to know. When Chad, a connected college athlete, arrives, the meeting ignites a long-simmering animosity.
Hortense seeks a new life beyond rural Jamaica, Gilbert dreams of becoming a lawyer, and Queenie wants to escape her Lincolnshire roots; their intertwined stories connect Jamaica and Britain against the history of empire, migration and racism.
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