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Jack and Algernon use fictional identities to escape their social obligations. When both pursue women who are determined to marry a man named Ernest, their deceptions begin to unravel. Oscar Wilde’s comedy of manners turns engagements, family secrets, and respectable society into a game of verbal mischief.
Tom Wingfield recalls life with his mother Amanda and his shy sister Laura in their St. Louis apartment. Amanda hopes that a gentleman caller will secure Laura’s future, while Tom longs to escape. A dinner invitation brings their competing dreams together in Tennessee Williams’ memory play.
Vladimir and Estragon pass the time by a lonely tree, talking, arguing, and considering whether to leave. They are waiting for Godot, though the purpose and timing of the meeting remain uncertain. Visitors interrupt their routine in Samuel Beckett’s tragicomedy about companionship, repetition, and the search for meaning.
Blanche DuBois arrives in New Orleans seeking refuge with her sister Stella and Stella’s husband Stanley. Her manners and romantic illusions clash with the life of their crowded apartment. As Stanley questions her past, the tensions between desire, dependence, and vulnerability become increasingly difficult to contain.
Willy Loman returns home exhausted, still measuring himself and his sons against an elusive idea of success. Memories of better days intrude on the present as his family confronts disappointment and painful secrets. Arthur Miller’s drama examines work, self-worth, and the distance between ambition and love.
Witchcraft accusations turn Salem into a place of suspicion, fear, and opportunism. Farmer John Proctor tries to protect his family while confronting a secret that threatens his credibility. Arthur Miller’s drama places private guilt against public hysteria and asks what a person will sacrifice to keep their integrity.
Servants Sam Samela and Willie Malopo, both in their mid-forties, are practicing ballroom steps in preparation for a major competition, while maintaining Hally's mother's tea shop on a rainy day. Sam is the more worldly of the two. When Willie says his ballroom partner and girlfriend is lacking enthusiasm, Sam points out that Willie beats her every time she makes a mistake. Seventeen-year-old Hally Harold arrives home from school, and cheerfully asks about the dancing progress. Sam mentors the boy, wishing to guide him through adolescence into manhood, while Willie is the "loyal black"; who calls the white boy "Master Harold". The conversation between the three moves from Hally's school-work, to an intellectual discussion on "A Man of Magnitude", where they mention various historical figures of the time and their contribution to society, to flashbacks of Hally, Sam and Willie when they lived in a boarding house. Hally warmly remembers the simple act of flying a kite Sam had made for him out of junk. Hally wishes to write a story about the two of them flying the kite for school, but he feels the ending was too simple, as he recalls how he had sat on a park bench to watch the kite fly, while Sam quietly went back to work. Conversation then turns to Hally's 500-word English composition, where they describe the ballroom dancing floor as "a world without collisions"; a transcendent metaphor for life. Almost immediately, despair returns: Sam had early on mentioned why Hally's mother is not present; the hospital had called about his father, who has been there receiving treatment for complications from a leg he lost in World War I, to discharge him, and she had left to bring him home. However, Hally, indicating that his father had been in considerable pain the previous day, insisted that his father wasn't well enough to be discharged, and that the call must've been about a bad turn, rather than a discharge notice. A call from Hally's mother at the hospital confirms that Hally's father is manipulating the hospital into discharging him, despite the fact that his condition hasn't improved, so it's still unofficial, and Hally remains hopeful that the discharge won't happen. A second call from Hally's mother later reveals that the discharge is official, and she has brought Hally's father home. Hally is distraught about this news, since his father, who in addition to being crippled, is revealed to be a tyrannical alcoholic, and his being home will make home life unbearable with his drinking, fighting, and need for constant treatment, which is more than Hally and his mother can handle, and includes demeaning tasks of having to massage his stump, and empty chamber pots of urine. Hally vents to his two black friends years of anger and pain, viciously mocking his father and his condition. But when Sam chastises him for doing so, Hally, although ashamed of himself, turns on him, unleashing vicarious racism that he learned from his father, creating possibly permanent rifts in his relationship with both Sam and Willie. For the first time, apart from hints throughout the play, Hally begins explicitly to treat Sam and Willie as subservient help rather than as friends or playmates, insisting that Sam call him "Master Harold". It all comes to a head when, in a moment of blind rage, Hally spits in Sam's face. Sam is hurt and angry about this, and both he and Willie come very close to physically attacking Hally, but they both stop themselves, coming to understand that Hally is really causing himself the most pain. There is a glimmer of hope for reconciliation at the end, when Sam addresses Hally by his nickname again and asks to start over the next day, and maybe fly another kite, harkening back to the simple days of the other kite. Sam recalls the reason he had made that kite in the first place: Once, Hally's father had passed out from drunkenness at a hotel bar, and young Hally and Sam had to fetch him, as Hally's mother was unavailable to do so. Sam had to literally carry Hally's unconscious father home on his back, while young Hally miserably followed, carrying his crutches. Sam took pity on young Hally's shame and humiliation, and wanted to give Hally something to be proud of. In the present, Hally, horrified about what he's done, is barely able to face Sam, responds without looking up "It's still raining, Sam. You can't fly kites on rainy days, remember," and asks Willie to lock up the tea shop. Sam then gives Hally a twist ending to the kite story: the reason Sam left, to go back to work, was because the bench Hally had sat on to watch the kite, had said "Whites Only" but young Hally had been too excited to notice it, but now, he can (figuratively) leave it at any time. Hally exits into the rain without response. The play ends with Willie promising to make amends with his girlfriend and stop beating her, and him and Sam consoling each other by using Willie's bus fare to play the jukebox, and they ballroom dance together.
Set in Paris, the play revolves around three friends—Serge, Marc and Yvan—who find their previously solid 15-year friendship on shaky ground when Serge buys an expensive painting. The canvas is white, with several fine white lines. Marc, appalled to hear that Serge had paid two hundred thousand francs, scornfully describes it as "a piece of white shit". Serge argues that the painting, created by a reputable artist, is worth its hefty price, but Marc remains unconvinced. Serge and Marc confide in Yvan about their disagreement. Yvan, who is engaged but conflicted over his forthcoming wedding, remains neutral and attempts to smooth things over. To Serge, Yvan comments politely on the painting but admits that he does not grasp the essence of it. To Marc, Yvan laughs at the painting's price but suggests that the work is not quite meaningless. Yvan's vacillations only fuel the disagreement as his friends criticize his timid neutrality. Several nights later the three meet for dinner, and an all-out argument rapidly develops with each using the painting as an excuse to criticise the others over perceived failures. Marc attacks Yvan for never expressing any substantial opinions, and for being an "arse-licker" in the ongoing conflict between his fiancée, his in-laws, and his mother. Marc and Serge argue that Yvan should call off the marriage, to which Yvan responds with lame excuses. Serge criticizes Marc's unwillingness to accept that his friends’ opinions differ from his own; and he reveals that he has for some time despised Marc's girlfriend. Marc finally admits that his true resentment is not the painting itself but the uncharacteristic independence of thought that the purchase reveals in Serge. He recalls that Serge used to share his own views on arts and culture, and he feels abandoned now that Serge has developed his own, modern taste. Marc says that friends must always influence each other, but Serge finds that view to be possessive and controlling. Yvan, at last defending himself, sobbingly explains that he tries to be tolerant and agreeable because he values companionship over dominance: their friendship is his only sanctuary in his burdensome life. After Yvan's outburst, the friends calm down. The argument wordlessly settles as Serge allows Marc to deface the painting using a blue felt-tip pen. Marc draws a person skiing along one of the white lines on the painting. Serge and Marc agree to attempt to rebuild their friendship, and they begin by washing the pen marks off the painting. Marc asks Serge whether he had known that the ink was washable; Serge replies that he had not. But he had indeed known that, and feels troubled about his lie. Marc concludes by describing his own interpretation of the painting: it is of a man who moves across the canvas and disappears.
In a London laundry, Amanda imagines that handsome client Horace is her sweetheart and tells co-workers elaborate stories about their supposed romance. When he arrives to collect his laundry, she admits the truth; he responds kindly, gives her a kiss and a jeweled tie pin, then leaves her alone with her broken fantasy.
Giovanni and his sister Annabella confess their mutual incestuous love. Annabella is pressured into marriage with Soranzo, who discovers her pregnancy and seeks revenge; after Annabella warns Giovanni, he kills her at a feast and reveals their affair, triggering a final massacre.
Tis Well if it Takes is a 1719 comedy play by the British writer William Taverner. It premiered at Lincoln's Inn Fields on 28 February 1719. The original cast included John Leigh as Loveless, William Bullock as Oldish, Lacy Ryan as Charles, James Quin as Careful, James Spiller as Prate, Robert Pack as Easy, Jane Rogers as Corinna, Frances Maria Knight as Wishit, Mary Willis as Isabella, Elizabeth Spiller as Beatrice and Jane Egleton as Lucy. Lewis Theobald wrote the lyrics for a song performed in the Third Act. It ran for five nights, a reasonable length for a new comedy in the era.
The play takes place over the course of a single evening in the living room/kitchen of an isolated house shared by Jessie and her elderly mother Thelma. This evening, Jessie has carefully organized the house and made other detailed preparations for the future while explaining the changes to Thelma, who does not immediately notice anything unusual. Finally Jessie asks where her late father's pistol is stored; Thelma tells her. Only after Jessie retrieves the pistol does Thelma question Jessie's strange behavior. Jessie explains that she intends to commit suicide at the end of the evening. Thelma, horrified, at first assumes Jessie is unhappy with their life together. Jessie calmly assures her that she is simply tired of living and has been for some time. Thelma speculates that Jessie's unhappy marriage, her divorce, her criminal son, the loss of her father, her epilepsy, or the pity and distaste other people feel toward her illness, are at the root of her depression; Jessie likewise dismisses these reasons, stating that her motives are purely her own and have nothing to do with other people, including Thelma. Gradually the two reveal long-hidden truths to one another: Thelma admits that Jessie's seizures began in early childhood, but went untreated for decades with Jessie herself unaware of her symptoms, while Jessie confesses the true causes of her failed marriage. Throughout it all, Thelma occasionally bursts into hysterics in which she attempts to reason with Jessie. Jessie deflects her mother's reasoning by continuing to calmly explain the mundane responsibilities that Thelma must assume once Jessie is dead including what to do in the immediate aftermath of her suicide. Thelma rejects all of it, believing that Jessie will give up her plans if Thelma refuses to cooperate, but Jessie says she will kill herself regardless. By the end of the evening, Thelma concludes that she has never really known her daughter and realizes that their long conversation has altered the nature of their relationship, but Jessie, stating that it is now time for her to go, says night, Mother," before locking herself in her room. As Thelma begs and beats the door, the gunshot rings out, shocking Thelma to silence. After a moment to collect herself, she begins to carry out the instructions Jessie left for her.
A solo performer inhabits multiple characters in a dark comedy about life, death, and the misfortunes that connect them. Interwoven voices examine the humour and cruelty of being human.
(I Am) Nobody's Lunch is a play with music produced by The Civilians, an investigative theater company in New York City. Based on interviews conducted in 2003, the play explores the compromised issues of trust and truth that arose between the American government and its people during the lead-up to the Iraq War. (I Am) Nobody's Lunch was written and directed by Steve Cosson from interviews by the company, with music and lyrics by Michael Friedman.
On the Mississippi during the Civil War, a lynched Black man named Damascus is resurrected as Demeter, who has three days to find her daughter Po’em and pass on her song before returning to death.
Four characters find themselves in a mysterious void, where a Guide asks them to choose one memory in which to spend eternity. The play follows their memories and searches for self-knowledge.
Wilhelm Pederit, secretary to a German prince, discovers that the prince has agreed to sell twelve thousand subjects to Britain as mercenaries against the American rebels, including Pederit’s two brothers. He alerts Frederick the Great, whose emissary prevents their departure. The prince condemns Pederit, but Frederick protects him; Pederit and his brothers then leave for America as free men.
After a period of absence, John returns to preach an anti-war movement and becomes a Christ-like figure around whom a following gathers.
As news of Anne Boleyn's arrest and execution by King Henry VIII spreads across the country, the play follows Anna, Jane and Mariella, three friends reuniting in a field to share news and gossip, as the rumors become reality and begin to inspire the men of their village to mistreat women through force and manipulation.
Performers take the roles of traveling players in 1789, presenting the French Revolution while critically examining the historical figures they portray.
An 18-sketch Living Newspaper strings together events of 1935, using a Greek-like chorus rather than a single point of view.
Students at a residential school prepare a Shakespeare production for an anticipated royal visit. As they discover connections between the play and their own experiences, they challenge their teacher’s assumptions and reclaim the performance.
1984 is a 2013 play by Robert Icke and Duncan Macmillan based on the 1949 novel Nineteen Eighty-Four by George Orwell.
A deputy sheriff in Eldon, Iowa, must enforce a law barring sex offenders from living near places where children gather. Forced to evict a neighbour’s son, he confronts the town’s fear and intolerance.
In a dramatized lecture delivered in Chris Rapley's voice, the speaker combines memoir of his life and career with an explanation of climate change and the controversies around it. The title refers to the year Rapley's oldest grandchild would reach 67, Rapley's age when he first performed the piece.
Jake, a shady cotton-gin owner, burns down a rival plantation’s mill. Silva Vicarro, who knows Jake was responsible but cannot prove it, retaliates by assaulting Jake’s young wife Flora.
Jenny and her husband Sam have recently bought a large house in Greater London that they are renovating. For several nights, at exactly 2:22 am, Jenny hears the sound of someone moving around the house and a man's voice crying, often via the baby monitor in her daughter's bedroom, and becomes convinced the house is haunted. Sam, being a sceptic and having been away on a work trip, insists there are more logical explanations for the noises. The couple hosts a dinner party for Lauren, an old university friend of Sam's, and Ben, her new boyfriend who has a belief in the supernatural. After discussing the strange noises, Jenny persuades the others to stay up until 2:22am to see what happens. Sam reveals that his work trip was to a rural island where he lost his phone, and was unable to contact Jenny leaving her and daughter Phoebe alone in the house. The two argue, and tensions arise further when she discovers one of Phoebe's toys in the bathroom drenched in white spirit. Ben suggests a seance to make contact with the spirit asking it to point out the person in the room who is most related to it, which only causes Sam to be further agitated as the table on which they conduct it begins to move towards him abruptly, setting part of the kitchen on fire. Ben, startled by what he saw in the seance, leaves the house in shock. After the commotion, Lauren has a private conversation with Sam where she confesses to having doused Phoebe's toy in spirit in an attempt to prove Sam (and his constant need to provide a scientific explanation for everything) wrong, and also confesses that she loved him back in their university days. The group are interrupted by a knock at the door, in response to which Sam leaves, and Jenny is greeted by two police officers who inform them that Sam had in fact died on the island, and that before his death he attempted to make one last call to Jenny at exactly 2:22 am. Jenny realises that the voice of the crying man over the baby monitor was in fact Sam's, and that the ghost haunting the house was him.
In a one-man verse drama, Jack Topps recounts how his father's murder led him into a criminal life.
In postwar Liverpool, three Jewish sisters navigate family life in the shadow of the Holocaust. Samuels and Oberman transpose Chekhov's family drama to a community shaped by wartime destruction, combining longing and grief with humour, bickering and fierce family loyalty.
A drama about the downfall of the Austro-Hungarian monarchy.
A musicologist with ALS investigates why Beethoven wrote thirty-three variations on a simple theme submitted by publisher Anton Diabelli. Her research unfolds alongside scenes from Beethoven’s time, with the two eras converging onstage.
At a New York boarding house, Penelope Penn, a minister's daughter pursuing a singing career, takes a chorus job that shocks her landladies and falls for Napoleon Gibbs, a man with a troubled past.
A formally fragmented play in twenty-four sections, using dialogues, confessions, and poetic monologues to explore clinical depression, isolation, treatment, self-harm, and suicide.
When Leo Joseph-Connell suffers a major loss while on a cross-country bike trip, he seeks solace from his feisty grandmother Vera Joseph in her West Village apartment.
Four strangers awaken trapped in a cage and learn they are part of a psychological experiment in which one must die for the other three to live.
45 Seconds from Broadway is a comedy play by Neil Simon, his thirty-third. The play premiered on Broadway in 2001.
Brenton’s history play centers on the 1649 trial and execution of Charles I after the English Civil War.
A single performer becomes six guitarists whose lives revolve around blues, jazz, rock, classical, folk, and country music. Their stories, rivalries, and songs reveal the different ways music can shape a person’s identity.
Married advertising copywriter Paul Friedman and discontented housewife Anne Miller answer a listing for a six-room Riverside Drive apartment. Accidentally locked inside, they share their lives and gradually form a connection.
A man contemplating a jump from a seventh-storey ledge is repeatedly interrupted by the colourful residents who appear through the building’s windows, each absorbed in personal crises. Their encounters prompt the man to explain the lost routine and disorientation that brought him to the ledge.
A Hollywood film director is murdered in a high-class New York restaurant, drawing a temperamental movie actress and her screenwriter into the story.
In this one-man autobiographical show, Billy Crystal reflects on the Sundays he shared with his father, who died when Crystal was fifteen.
On Boat Race Night, Lord Trent steals a taxi and returns home to find a gambling club occupying his house. Pretending to be the cabdriver, he enters the gamblers' circle as a murder and danger to a woman's life lead to a series of adventures in which he sets matters right.
A verbatim courtroom drama reconstructing the closing arguments in Perry v. Schwarzenegger, the federal challenge to California's Proposition 8, from trial transcripts, journalist records, and interviews.
Billy Crystal revisits the family life, friendships and career milestones associated with his longtime Los Angeles home after its destruction in the Palisades fire. The solo autobiographical play uses memories and humor to explore what remains when a home is lost.
After his discharge, soldier Daniel Reeves is arrested and tried for the rape and murder of an Iraqi girl and her family, crimes he may have committed while serving in Iraq. As he moves through military and civilian bureaucracy, legal proceedings, therapy and religious encounters, the play’s stages echo the nine circles of Dante’s Inferno.
Nine composite Iraqi women from different generations and social backgrounds speak about their lives amid political repression, war and displacement. In the original version, one performer shifts among the women, including an artist compromised under Saddam Hussein, an exiled academic, a doctor, a child, a survivor of the Amiriyah shelter bombing and an Iraqi American watching the war from New York.
The play is based on a real-life event that occurred during the Second World War that was initially kept quiet. The 946 in the title is the death tally of servicemen who were killed while they were doing practice runs for D-Day at Slapton Sands in Devon. The play begins before the United States Army arrives, with Lily living in Slapton with her grandfather, her mother and her pet cat, Tips. Then some children that have been evacuated from London begin to arrive in the village, and she becomes friends with a boy named Barry. One day, after the army has arrived, two of the soldiers, who are black, stop by the school asking for directions. The students are taken aback because they have never seen a black person before. Lily kinda develops a crush on one of them nicknamed Adi, which is short for Adolphus. The villagers soon find themselves being forced out of their homes by the army, so they can use the area for practicing a military exercise for the impending attack at Normandy. When Lily realizes that Tips has been left behind, she makes an effort to find him, but can't, so she relies on the American soldiers who promise they will look for her cat, who eventually reunited Lily with Tips. The show features a band onstage performing original and period music.
After an unplanned pregnancy, former music prodigy Eunice Kim returns to her childhood home in Los Angeles and tries to repair her relationship with her Korean immigrant mother, Sah-Jin. Through a nonlinear sequence of memories, dreams and imagined histories, they confront mental illness, the violent death of Eunice’s father and their own conflicting versions of the past.
On a holiday in France, Stanley and Brenda Parker take the last room at a shabby village hotel, only to discover it was also booked by Claude, who arranged to meet cabaret dancer Simone. Claude’s wife Helga arrives, while the hotel’s staff and guests add further confusion. As seductions, ghostly noises and mistaken identities collide, each visitor struggles to hide the night’s secrets from their spouse.
A mysterious man named Carmichael has been searching for his missing left hand for 27 years. Two bickering lovebirds, Toby and Marilyn, claim to be in possession of his long-ago severed appendage, and look to collect the reward that Carmichael is offering for its return. An eccentric hotel clerk, Mervyn, gets in the middle of the transaction, and his presence threatens to spoil the proceedings.
A Bequest to the Nation is a 1970 play by Terence Rattigan, based on his 1966 television play Nelson (full title – Nelson – A Portrait in Miniature). It recounts the events surrounding Horatio Nelson, his mistress Emma Hamilton, and his wife Frances Nisbet in the events immediately before, during and after the Battle of Trafalgar. It also includes various other historical characters such as Thomas Hardy and William Nelson. The title refers to Nelson leaving Emma and their child Horatia to the nation on his death.
Though it was premiered in 1921, the play is set in the early 1930s. Margaret Fairfield divorces her husband, who has been in a mental hospital for many years, in order to remarry. Their daughter cares for the father and faces the fact that his mental illness may be hereditary. Although not permitted at the time in Britain, the play imagines a future where divorce is permitted where a spouse is incurably insane. Due to evolving cultural views, divorce was a popular subject in novels and drama of the time.
During an Ashes Test in Brisbane, England captain Pogson tries to keep star batsman Stratton in form and out of trouble. When Stratton drives to an outback bungalow to protect his girlfriend's grandfather from bandits, Pogson joins the ensuing battle and must get the batsman back to the crease by morning.
A peasant woman, Lizaveta, has a child after being seduced by a young landowner while her husband is away doing quit-rent work. The four-act tragedy follows the conflict over the affair and child amid the social divisions of Russian serfdom.
Based on the Nation of Islam's Yakub doctrine, the play depicts Jacoub creating the White Beast, progenitor of white people. Baraka's action literature uses music, lighting, audience-engulfing performance and the work's inversion of racial symbolism to raise Black political consciousness.
Mildred Tresham has secretly been seduced by Henry Mertoun, who seeks to repair the wrong by asking to marry her. Her brother Thorold consents without knowing their history, then discovers the affair and, in a fatal chain of misjudgments and remorse, duels Mertoun and takes poison.
Avis and Moss wake in an isolated summer house with no memory of who they are or how they arrived. As they invent and revise possible shared pasts, Wren appears with contradictory explanations, making the couple increasingly dependent on and suspicious of her while the boundaries between memory, identity and fiction blur.
A Bold Stroke for a Husband is a 1783 comedy play by the British writer Hannah Cowley. The title is a variation on Susanna Centlivre's A Bold Stroke for a Wife. The original Covent Garden cast included William Thomas Lewis as Don Julio, Richard Wroughton as Don Carlos, John Quick as Don Caesar, John Edwin as Don Vincentio, Richard Wilson as Gasper, John Whitfield as Don Garcia, James Fearon as Vasquez, Mary Robinson as Victoria, Sarah Maria Wilson as Minette, Mary Whitfield as Laura, Harriet Pitt as Sancha and Isabella Mattocks as Olivia. The epilogue was written by John O'Keeffe. The play is in five acts and is set in Madrid.
Set in 18th-century England, the play tells the story of a military officer who wants to marry a young woman. His obstacles are the four guardians who watch over Anne Lovely. Each of the four has his own idea of the ideal husband. The catch is that each is disagreeable in his own way, and they can't possibly see eye to eye on a man for Anne. To gain Miss Lovely's hand in marriage, soldier Colonel Fainwell must convince the four guardians that he will make an ideal husband. Fainwell takes the bold stroke of wearing elaborate disguises, four of which mimic the personalities and occupations of each of the guardians in turn: an antiquarian, an old beau, a Quaker, and an exchange broker. In all, Fainwell dons the guise of a preening fop, a mysterious world traveler, a shuffling country steward, a dimwitted Dutchman and a fire-and-brimstone preacher in turn. The fire-and-brimstone Quaker character impersonated by Fainwell is Simon Pure, and one point of the plot is to discover the "real" Simon Pure. Fainwell gets the guardians' permission to wed Lovely but before the marriage can take place, the real Simon Pure shows up at the end to prove his identity.
Comedic investigation follows Edward Jones, an ordinary man whose life is disrupted by an impossible event the day before his fortieth birthday.
In colonial Boston, James Otis resigns as advocate general rather than defend writs of assistance, then argues in court that warrantless searches violate the right to security at home. After he is attacked and left with a brain injury, the play follows his later participation in the Patriots’ resistance and ends with his death by lightning.
A journalist returns to his hometown to write a novel and recalls the past.
A four-act comedy critiquing the custom of arranged marriage.
In 1932–33 Germany, actress Agnes Eggling and her friends experience the fall of the Weimar Republic and the Nazi rise to power. In the original version, their scenes are interrupted by Zillah, a young woman in the 1980s who draws parallels between Reagan and Hitler; later revisions add Xillah and alter that commentary.
A Bronx Tale is an autobiographical one-man show written and performed by Chazz Palminteri. It tells the coming-of-age story of Calogero Anello, a young New Yorker torn between the temptations of organized crime and the values of his hardworking father. Developed and directed by Mark W. Travis, it originally premiered in Los Angeles in 1989 before moving off-Broadway. A film version, involving Palminteri and Robert De Niro, was released in 1993. In 2007, Palminteri performed his one-man show on Broadway and on tour. A musical version of the show co-directed by De Niro opened in 2016 at the Longacre Theatre on Broadway and played until August 2018.
Short of money and pursued by creditors, Naguib falls in love with Fifi, only to discover that she is engaged to his friend Dr Sami. He conceals his feelings and gives Sami an inherited diamond ring for the engagement. When Fifi learns of his sacrifice, affection begins to pull her away from her fiancé.
Mrs. Murgatroyd, already married to the wealthy Mark, secretly conspires with Sir Philip Marchant to divert a large sum from her husband's finances. The scheme is tangled with her prior marriage and the threat of exposing bigamy; her motives shift from financial gain toward returning to her first husband, drawing the plot toward a contest over violets.
Josinalda, a woman of strict principles, supports her sister, niece and neighbor on a meager salary. When a bandit enters their home and takes the women hostage, the two-act comedy becomes a police-style game of cat and mouse.
After her husband betrays her, a woman, angry and grieving, makes a deal with the devil and asks him to take her husband and his lover to hell.
Goldsmith’s daughter Moll loves Touchwood Junior but is promised to Sir Walter, a fortune-seeking knight. Interwoven plots follow shoemaker Simon Eyre’s rise, the pursuit of Moll’s brother Tim, and the impoverished Touchwood Senior’s attempt to secure an heir for the Kixes, ending in reconciliations, marriages and a celebratory dinner.
Set in the fictional Sydney suburb of Sarsaparilla at the end of the 1950s, Patrick White described the play as being about the destructive power of good.
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