This Is How It Goes
This Is How It Goes is a play by Neil LaBute set in small town America, about the repercussions of an interracial love triangle. The play premiered Off-Broadway in 2005 and also was produced in the West End in 2005.
Plays
8284 shows
Clear filtersThis Is Our Youth
In March 1982, 19-year-old Warren, recently expelled from his home, has stolen $15,000 from his abusive father. He and his domineering friend Dennis spend some of it on cocaine, while Warren tries to use the money to attract Jessica, a fashion student. The play examines their adolescence, materialism and uncertain transition to adulthood.
This Is What Happens Next
A storyteller moves through an interconnected world of addiction, divorce, absent parents, and competing explanations of life. The shifting characters expose both the comfort and the danger of deciding what happens next.
This Is Where We Came In
Three storytellers trap six players in twisted reinterpretations of fairy tales. The play was first presented in two parts on Saturday mornings, which could be watched out of order; the parts were combined into a single event in 1991.
This Lime Tree Bower
Three young men in a small Irish town narrate their lives: bored schoolboy Joe seeks adventure, his brother Frank works in the family chip shop and devises a plan to solve their troubles, and their friend Ray, a university lecturer, dates their sister Carmel.
This Old Man Comes Rolling Home
Over about six months in early-1950s Redfern, the Dockertys, a working-class extended family, cope with poverty, changing relationships and Laurie’s alcoholism. Their children and partners face pregnancy, marriage, unemployment, theft and loss; a chorus of local older women and a mythic Old Man frame the family’s life.
This Was a Man
Portrait painter Edward Churt knows his wife Carol has affairs with other men and treats them lightly until he finally declares he will divorce her. His decision remains comically casual: he leaves for lunch after making it, and the play ends with a joke about suicide.
This World of Tomorrow
A forlorn scientist from the future repeatedly returns to one day at the 1939 World’s Fair in a time-travelling quest for true love.
This is For You, Anna
A nonlinear, episodic feminist play responds to Marianne Bachmeier's courtroom killing of her daughter's murderer. Four actors embody different versions of Marianne while connecting her story with a Lucretia retelling, experiences of abuse, media treatment of victims, and a jury's judgment.
This is Not an Exit
Nora, a journalist for a women’s magazine, is in an identity crisis. Her mother, a life coach, and a teenage media figure each try to help her, while the play leaves uncertain whether their efforts occur in Nora’s mind or in the world around her.
Thom Pain (based on nothing)
Thom Pain (based on nothing) is a 2004 one man show written by Will Eno. It is a rambling monologue in which the protagonist, who has suffered a lot in his life, tells the story of a bee sting, a boy with a dog that died, and his experience with a woman.
Thomas Lord Cromwell
An Elizabethan history play about Thomas Cromwell, minister to Henry VIII.
Thomas of Woodstock
An anonymous, incomplete Elizabethan chronicle play depicting events in Richard II's reign leading to the 1397 murder of Thomas of Woodstock. It juxtaposes court politics with low-life scenes and presents Woodstock as a figure of conscience.
Thomaso, or the Wanderer
An English Royalist exile in Spain moves through a ten-act sequence of adventures, pursuing a liaison with courtesan Angellica while also forming a more conventional relationship with Serulina. The comedy follows his libertine conduct and contrasts it with the foolish pretensions of Edwardo.
Thoughts of a Colored Man
The show uses slam poetry, prose and songs to tell the story of Black life in America through the stories of seven multi generational men living in the same Brooklyn neighborhood.
Three Birds Alighting on a Field
Set in the 1980s, the play follows characters connected with a failing art gallery and opera house as they try to improve their prestige.
Three Days in the Country
Patrick Marber's stage version of Turgenev's comedy about unrequited love and jealousy among members of a Russian country household.
Three Days of Rain
Walker and his sister Nan met in an unoccupied studio in lower Manhattan in 1995. Walker, who had disappeared the day after his father's funeral, now months later is living in this apartment where his father, Ned Janeway and business partner, Theo Wexler, once lived and worked designing the famous "Janeway House". Walker has found their father's journal and attempts to use it to understand the relationship between Ned and Theo. Nan and Walker's childhood friend Pip (Theo's son) meets with them after the reading of Ned's Will, where the three have learned that Janeway House was left to Pip rather than Ned's children. Walker is furious and accuses Pip of "working on" Ned to bequeath him the house. Pip denies this and protests that he does not understand why the house was not left to Nan and Walker as next of kin. Pip reveals that he doesn't even like the house, which prompts another tirade in Walker. Fed up with Walker's ranting, Pip fights back at Walker verbally. Pip accuses Walker of secretly being in love with him for 18 years and reveals that he (Pip) and Nan were secretly sleeping with one another (behind Walker's back) when they were young. Walker runs off into the night. Pip says he may have gone too far and agrees with Nan to sell Walker the house. Nan tries to find Walker to tell him. Distraught when unable to find him, Nan decides to stay at the studio until he returns. After Walker returns, Nan apologizes and the two of them continue to parse Ned's concise and mysterious journal which opens with the entry: "1960, April 3–5. Three days of rain". Walker believes he's found a confession from Ned, hidden within the pages of the book, to the effect that Ned took credit for Theo's work on the house after Theo's death in 1966. Nan does not accept this interpretation but acquiesces to calm her brother. She tells Walker that Pip would sell him the house, but Walker's new-found "revelation" changes his mind about wanting it. Walker burns the diary, much to Nan's chagrin. Act two is set in April 1960, when Janeway House was designed. The same three actors portray members of the previous generation in the same apartment: the actor portraying Walker plays Ned; the actor portraying Pip plays Theo; and the actor portraying Nan plays Lina, Nan and Walker's mother. The assumptions their children made in the first half are shown to be wildly inaccurate. Rather than a callous, silent patriarch, Ned is a shy stutterer, who, while an immensely talented architect, has trouble making eye contact or holding a conversation with anyone. Theo is revealed to be charismatic, more concerned with fame and the idea of art, than the creation of any original art itself. Lina, a bohemian southern belle, is dating Theo and their arguments are loud enough for the entire neighborhood to hear. Theo and Ned attempt to design a house commissioned by Ned's parents, but Ned recognizes Theo's design as plagiarizing an existing house. Ned and Theo fight, and Theo leaves for a few days to try to work in solitude. A few days later, Ned runs into Lina during a rainstorm, and they return to the apartment to escape the downpour. Ned invites Lina to stay for dinner, which leads each to reveal issues plaguing them. Lina resolves to leave before succumbing to Ned's unintentional shy sweetness, only to overhear Ned practicing telling Lina that he secretly loves her. Lina confronts Ned, and they spend three days in bed. Theo returns earlier than expected from his work retreat, finding Ned and Lina together in the apartment. He is embarrassed and leaves, with Ned trailing him. Ned attempts to apologize, but learns Theo is upset not about Lina but about failing to return with an original design. Lina persuades Ned that Theo will be okay, and that Ned should apply his emotions to draw the house she knows he imagines. He sits down to draw, suggesting that it was he who designed Janeway House and not Theo, as Walker had concluded.
Three Deaths
A lyrical drama set in the late Roman Empire presents three views of life and the conflict between sensuality and spirituality. Maykov described it as a poetic representation of its era rather than strict historical reconstruction.
Three Hours After Marriage
Doctor Fossil, a pompous older scientist, has just married the much younger Mrs. Townley when two rival suitors try to win her affections. She and the suitors make comic efforts to hide their intentions from him, while a poet and a literary critic complicate the farce.
Three Kings
When Patrick is eight, his absent father returns briefly and gives him the challenge of the Three Kings. Years later, Patrick traces his father's life and the revelations surrounding that encounter, recounting grand plans, disappointments and self-delusion in a solo monologue about fathers, sons and inheritance.
Three Live Ghosts
Three soldiers declared dead in World War I return: one Englishman has shell-shock-related memory loss, another learns his mother collected his life insurance, and an American has reasons to stay presumed dead. They try to maintain these false situations while facing complications.
Three Men on a Horse
Mild-mannered Erwin Trowbridge, bored with his suburban New Jersey life with his wife and brother-in-law and frustrated by his low-paying job writing greeting card verses, decides to declare his independence by skipping work and spending the day in a local saloon. There he meets three men who make a living by betting on horse races. When they discover Erwin has an almost supernatural ability to go through a racing form and pick the winners, they persuade him to join them at a New York City hotel and regularly give them tips. Complications arise when Erwin begins to miss his wife and job and his cronies insist he put some money on a horse himself, despite his claim he will lose his power if he places a bet.
Three Months Gone
In 1970 London, Anna Bowers pursues personal and sexual freedom through comic, risqué encounters with her friend Alvin Hanker and brother Maurice, testing the era's changing expectations around relationships and identity.
Three Sisters
The Prozorov siblings long to return to Moscow, but their hopes erode as Andrei's marriage to Natasha changes the household, Masha begins an affair with Vershinin, and Irina's intended marriage ends with Tuzenbach's death in a duel. As the soldiers depart, the sisters remain uncertain about their future.
Three Sisters
In 1967 Nigeria, three sisters mourn their father and long to return from Owerri to Lagos. As the Biafran War overtakes their lives, private hopes collide with a struggle over independence and the legacy of colonial rule.
Three Tall Women
The play opens with the three major characters together in A's bedroom. Throughout the scene, A does most of the talking, frequently reminiscing and telling stories about her life. B humors her, while helping her do everyday things that have become difficult to do alone (sitting down, going to the bathroom, getting into bed). C, while getting a rare word in edgewise about the duties she is there to accomplish, is most often deterred by A's slipping into long-winded storytelling. C often challenges A's contradictory and nonsensical statements, but she is discouraged by B, who is clearly used to A and her habits. Act 1 ends when A, in the middle of one of her stories, has a stroke. The play picks up with a mannequin of A lying in a bed. A, B, and C are no longer the separate entities of Act 1, but represent A at different times in her life (their ages corresponding to those of A, B, and C in Act 1). Since A, B, and C in this act are all very coherent (unlike the senile A of Act 1), the audience gets a much clearer insight into the woman's past. At one point, the son comes in to sit by the mannequin. A and B (who are invisible to him) are not happy to see him, because of the rift between them. C (also unseen by the son) is none the wiser, because she is from a period in the woman's life before her marriage. He says nothing throughout, and leaves before the end of the play. The play ends with A, B, and C debating about the happiest moment in their life. A has the last word, saying, "That's the happiest moment. When it's all done. When we stop. When we can stop."
Three Weeks After Marriage
Three Weeks after Marriage is a comedy play by the Irish writer Arthur Murphy. An afterpiece, it premiered at the Theatre Royal, Covent Garden in London on 30 March 1776. It was a reworking of an earlier play What We Must All Come To which was staged in 1764, which had a poor reception. The cast included William Thomas Lewis as Sir Charles Racket, John Quick as Drugget, Isabella Mattocks as Lady Racket, Ann Pitt as Mrs Drugget and Jane Green as Dimity. The entire play takes place at a country house about four miles outside London. It was met "with great applause" and became a standard work, being played every year for the remainder of the century. Its performances continued well into the nineteenth century. The role of Lady Racket later became a signature for Frances Abington, and was also played by Dorothea Jordan and Harriet Faucit.
Three Wise Fools
Act I (Living room of the Washington Square home. A Thursday evening.) Theodore Findley and Dr. Richard Gaunt are spending a typical evening in the house they jointly own with Judge Trumbull. The latter stays late at the courthouse on Thursdays, and is not yet home. Findley taxes Gray and Mrs. Saunders with any deviation from established routine, going so far as to time their actions. Used to his finicky ways and having no fear of dismissal, for that would entail disruption of routine, the servants carry on calmly. Dr. Gaunt tweaks Findley over their highly-regulated life, suggesting they are "unburied dead", stuck in their daily ruts. Findley is further disturbed by the attitude of Gordon, who resists taking a sensible job in favor of volunteer work, since he is already wealthy. Gray brings in a police detective named Poole, who says the police are shadowing the Judge. Benny the Duck has escaped prison and sworn to get the judge who sentenced him. When the Judge arrives, a letter is brought in. It is from a dying Rena Fairchild, asking them to take of her child Sidney. The letter is two months old, and Rena has already died. The three old men agree among themselves to offer their home and protection, but are astonished when Sidney proves to be a young lady. Recovering quickly, they still offer her shelter and a chance to study law with the Judge. Gordon, plainly smitten with her, announces he will take up the job Findley offered him. (Curtain) Act II (Same as Act I. Four weeks later.) The three old bachelors have dined with Sidney to celebrate her one-month anniversary of residence. She has kept accounts for Findley, patient appointments for Dr. Gaunt, and helped prepare briefs with the Judge. She is made housekeeper, and given Findley's key ring, which also has a police whistle on it. They present her with a pearl necklace and announce they will take her to the opera. While the old fellows get ready, Gordon gives Sidney a watch he bought with his first month's wages. Sidney learns from him the house is being watched by detectives to protect the judge. As Gray answers the front door, Benny the Duck bursts in, knocking him out. Sidney screams and Benny grabs her; they recognize each other. Sidney pleads with Benny to leave the judge alone, he tries to get past her, and she blows the police whistle on the key ring. Sidney helps Benny escape by unlocking a skylight. Douglas opens the front door to admit Poole, Clancy and a policeman. Sidney is recognized by Clancy as the servant seen leaving the house each night. Questioned by the Judge, Sidney refuses to tell why she let Benny escape. The three old men are dejected at their misplaced trust, and Sidney rushes out. Gordon refuses to believe Sidney is guilty. He finds she has left the house, followed by Poole's men. Gordon accuses the old men of being fools, and goes with Poole to find Sidney. (Curtain) Act III (Same as Act I. A half-hour later.) Findley and Dr. Gaunt wait for Judge Trumbull to return from the local police station. Saunders, dismayed at the chaos and upset at Sidney's departure, gives notice. The Judge returns but without any news. Gordon strolls in, giving an apology but insisting he still means what he said. He accuses them of not having faith in Sidney, whom he intends to marry. Gordon explains it was Sidney who blew the police whistle, preventing Benny from attacking the Judge. He then reveals Poole has agreed to not arrest Sidney if the three Musketeers do not press charges. Gordon frankly admits to having bribed Poole, which none of the old men bats an eye at, not even the Judge. Poole enters: he has Sidney outside in the car, but she doesn't want to come in. Clancy brings in Benny, who refuses to say anything. The others leave Gordon alone when Douglas brings in Sidney. Gordon proposes; she thanks him but cannot answer any questions. She knows he bribed Poole for her freedom, but he tells her not to speak of it. They are at an impasse when Douglas brings in another man seeking Poole. John Crawshay and Findley recognize each other. Crawshay has come to give himself up to avoid trouble for Sidney. Seeing him, Benny spills that Crawshay is Sidney's father. Further, he confesses to having forged his signature so Crawshay can be released from custody. The three Musketeers are reconciled with Gordon and Sidney. (Curtain)
Thrift of the Magi
Trey and Tina search for ironic vintage tourist-party clothes, then discover the sacrifices each has made for the other.
Through The Crack
Uncle Paul, Colonel Stumper and three children enter a dreamlike world where lost toys, vanished hopes and youthful feelings can return. Amid comic encounters and games, a family’s grief is transformed by the reappearance of the child Misty Love.
Through a Naked Lens
Using historical figures and imagined circumstances, the play follows reporter Herbert Howe as he is assigned to promote rising film star Ramón Novarro, travels with him to a production in Tunisia and becomes romantically involved with him amid Hollywood’s growing scrutiny.
Through the Leaves
Lonely butcher Martha and factory worker Otto form an unremarkable relationship in which neither can reach the other. Martha’s diary and their interactions reveal the pain of their intimacy and estrangement.
Thunder Rock
At an isolated Lake Michigan lighthouse, keeper Charleston retreats into an imagined world of shipwrecked travelers from the past, while his friend Streeter urges him to rejoin society. The travelers' faith in Charleston's courage renews his resolve to help build a better future amid the chaos of war.
Thunderbolt
A four-act Australian melodrama depicts bushranger Captain Thunderbolt as an outlaw who robs the rich and spares the poor. In the plot, a mysterious figure is blamed for stolen jewels and a coach robbery committed by another man in disguise, while pursuit, local characters and Thunderbolt's eventual sacrifice shape the action.
Thunderstorm
In the Zhou household, the patriarch’s past relationships and abuse of power entangle two half-siblings, Zhou Ping and Sifeng, in an unwitting romance. As family secrets emerge amid labor conflict and strained relationships, the revelation of their kinship leads to a series of deaths.
Thurgood
The one-man play follows Marshall from his childhood in Baltimore to his work as a U.S. Supreme Court Justice, which included arguing Brown v. Board of Education in 1954, and serving as the first African-American Supreme Court justice.
Thyestes
A lost Latin tragedy concerning Thyestes, presumed to draw on Euripides’ lost play of the same title.
Thyestes
After Thyestes takes his brother Atreus’s throne and wife, Atreus feigns reconciliation, recalls him from exile, murders his nephews, and serves them to their father at a banquet before revealing the revenge.
Thyestes
Thyestes, A Tragedy is a 1680 tragedy by the English writer John Crowne. It was originally staged by the King's Company at the Theatre Royal, Drury Lane. The original cast is unknown. It is based on Thyestes by Seneca.
Théâtre de Neptune
Performed in the harbor at Port Royal, this early colonial pageant presents four speeches by Mi’kmaq chiefs welcoming the French, followed by remarks from Neptune and his court of Tritons and a banquet.
Tibet Through the Red Box
A theatrical adaptation of Peter Sis's children's book, following a boy growing up in Prague through the 1950s.
Tic-tac-toe
A forward-thinking Ilonggo playwright stages a sexually charged work that draws successive demands for rewrites from a director, producer, conservative consultant, and test audience. The playwright reluctantly revises it, and the play-within-the-play ends in a literal game of tic-tac-toe.
Ticker
Spencer, a young Geordie man, loses Gabi, the woman he loves, to an unexplained sudden death and finds himself both chief mourner and a prime suspect. His grief and loneliness expose questions of male identity, aggression and the costs of silence.
Tiger Style!
High-achieving siblings Jennifer and Albert, now dissatisfied with their careers and relationships, blame their parents’ tiger parenting and travel to China to reinvent themselves. The play examines the pressures of Chinese-American stereotypes and the siblings’ family conflicts.
Tiger, Tiger Burning Bright
Tiger, Tiger Burning Bright is a dramatic stage play written by American playwright Peter Feibleman. The play premiered on Broadway at the Booth Theatre in 1962. Claudia McNeil was nominated for the Tony Award for Best Actress in a Play for her performance in the production. Critically acclaimed, the play closed after only 33 performances, which was blamed on the 1962–1963 New York City newspaper strike. The play is a stage adaptation of Feibleman's novel A Place Without Twilight, first published in 1958. The title is taken from the poem by William Blake first published in 1794, titled The Tyger.
Till the Day I Die
Till the Day I Die is a play by Clifford Odets performed on Broadway in 1935.
Till the Stars Come Down
Over one scorching summer day at Sylvia's wedding to Polish immigrant Marek, her working-class family in a former East Midlands mining town confronts buried secrets, strained loyalties, love, and loss.
Tilly of Bloomsbury
Tilly Wellwyn, a young woman from Bloomsbury, falls in love with a wealthy aristocrat and pretends to be of noble birth. Her deception initially fools his family, but her attempts to make her own family play along expose the scheme.
Timanthes
Timanthes is a 1770 tragedy by the British writer John Hoole. The original Covent Garden cast included William Smith as Timanthes, Robert Bensley as Demaphoon, Richard Wroughton as Cherinthus, Mary Bulkley as Cephisa and Mary Ann Yates as Ismena.
Time Out for Ginger
Time Out for Ginger is a Broadway comedy written by Ronald Alexander, and directed by Shepard Traube (1907–1983), that ran 248 performances at the Lyceum Theatre from November 26, 1952, to June 27, 1953, before becoming hugely popular in regional theatres throughout the 1950s and early 1960s.
Time Stands Still
Time Stands Still is set in Brooklyn and revolves around Sarah, a photo journalist who has returned from covering the Iraq war after being injured by a roadside bomb, and her reporter boyfriend James who is swamped by guilt after leaving Sarah alone in Iraq. They receive a visit from their friend Richard, a photo editor, who introduces them to his new girlfriend Mandy, who is much younger than he. The play focuses on their relationships and Sarah and James' prospects at a more conventional life.
Time Vindicated to Himself and to His Honours
Personified Fame and the Curious debate Time and reputation before Chronomastix, a satyr who embodies political scandal and libel. After comic anti-masques of mutes, jugglers and tumblers, mythological figures including Saturn, Venus, Cupid and Diana lead into the principal masquers’ dances.
Time and the Conways
Time and the Conways is in three acts. The first act is set in the Conway house in 1919 on the night of the birthday of one of the daughters, Kay. Act Two moves to the same night in 1937 and is set in the same room in the house. Act Three then returns to 1919, seconds after Act One left off. In the first Act we meet the Conway family, Mrs Conway, her daughters Kay, Hazel, Madge and Carol and her sons Alan and Robin. Three other characters appear: Gerald, a solicitor; Joan, a young woman in love with Robin; and Ernest, a young, ambitious entrepreneur of a lower social class. Act One's atmosphere is one of festivity as the family celebrates the end of the War and look forward to great future of fame, prosperity and fulfilled dreams. In a pensive moment when Kay is left alone on stage she seems to slip into a reverie and has a vision of the future. Act Two plunges us into the shattered lives of the Conways exactly eighteen years later. Gathering in the same room where they were celebrating in Act One we see how their lives have failed in different ways. Robin has become a dissolute travelling salesman, estranged from his wife Joan, Madge has failed to realise her socialist dreams, Carol is dead, Hazel is married to the sadistic but wealthy Ernest. Kay has succeeded to a certain extent as an independent woman but has not realised her dreams of novel writing. Worst of all, Mrs Conway's fortune has been squandered, the family home is to be sold and the children's inheritance is gone. As the Act unfolds resentments and tensions explode and the Conways are split apart by misery and grief. Only Alan, the quietest of the family, seems to possess a quiet calm. In the final scene of the Act, Alan and Kay are left on stage and, as Kay expresses her misery Alan suggests to her that the secret of life is to understand its true reality – that the perception that Time is linear and that we have to grab and take what we can before we die is false. If we can see Time as eternally present, that at any given moment we are seeing only 'a cross section of ourselves,' then we can transcend our suffering and find no need to hurt or have conflict with other people. Act Three returns us to 1919 and we see how the seeds of the downfall of the Conways were being sown even then. Ernest is snubbed by Hazel and Mrs Conway, Gerald's budding love for Madge is destroyed by the snobbery of Mrs Conway in another moment of social arrogance, Alan is rejected by Joan who becomes betrothed to Robin. As the children gather at the end of the play for Mrs. Conway to foretell their future, Kay has a moment of memory of the vision of Act Two we have seen unfold. Disturbed, she steps out of the party and the play ends with Alan promising that he will be able to tell her something in the future which will help her.
Time for Elizabeth
Mr. MacPherson, longtime employee of the Snow-Drift Washing Machine Company, receives a gold watch upon his retirement and looks forward to an idyllic life of leisure in Elizabeth, New Jersey. Ed Davis, vice president of the company, is intrigued by Mr. MacPherson's plans. Davis becomes angry with company president Walter P. Schaeffer and quits his job. Davis retires to Florida with his wife Kay, and has to cope with boredom, new neighbors, and living on a retirement income. When Davis loses his nest egg, he can't stand his new life anymore. Fortunately his old boss Schaeffer begs him to come back to the company in New York, at a higher salary.
Time of My Life
At a family meal in an Italian restaurant, three timelines unfold at once: Gerry and Laura revisit their marriage in the present, Glyn and Stephanie's reconciliation appears in future scenes, and Adam and Maureen's relationship is shown in reverse chronology.
Timoleon
Timoleon is a 1730 tragedy by the British writer Benjamin Martyn. It is based on the life of the Greek statesman Timoleon, leader of Syracuse during the Sicilian Wars against Carthage. The original Drury Lane cast included John Mills as Timoleon, Roger Bridgewater as Timophanes, William Mills as Olinthus, John Corey as Orthagoras, Charles Williams as Dinarchus, James Rosco as Pheron, John Bowman as Ghost, John Roberts as Aeschylus Mary Porter as Eusensia and Jane Cibber as Cleone. The prologue was spoken by Robert Wilks, and the epilogue by Anne Oldfield.
Timon in Love
Timon in Love is a 1733 comedy play by John Kelly. It is an adaptation of a French play based on Timon of Athens and is not related to Shakespeare's Timon of Athens. The original Drury Lane cast included Roger Bridgewater as Pierrot, Kitty Clive as Mercury, Henry Norris as Plutus and Christiana Horton as Eucharis.
Timon of Athens
The wealthy Athenian Timon gives lavishly to his supposed friends, but when his fortune is gone they refuse to help him. He turns against society, lives in the wilderness, discovers gold, and gives it away while urging Alcibiades to destroy Athens; his loyal steward Flavius is the exception among those around him.
Timour the Tartar
An equestrian drama about Timur, expressly written to feature horses as part of its theatrical spectacle.
Tiny Alice
Powerful widow Miss Alice and her lawyer offer a generous grant to the church on the condition that the cardinal's naïve secretary be used as a liaison. The play is Edward Albee's look at the corruption involved in mixing religion and money. Julian is the lay brother who is sent to live with "Miss Alice". Miss Alice, her lawyer, and her butler are "representatives of the unseen Tiny Alice, who resides in an altar-like 18-foot model of Miss Alice's baronial mansion."
Tipping the Velvet
A stage adaptation conceived as a celebration of sexuality and a formative journey to love and sexual discovery between women, in a period when that relationship is frowned upon.
Tit for Tat
Tit for Tat is a 1786 comedy play by the British writer George Colman the Elder. It premiered at the Theatre Royal, Haymarket in London on 29 August 1786. The original Haymarket cast included John Palmer as Villamour, Cockran Joseph Booth as Old Meanwell, William Davies as Young Meanwell, Robert Palmer as Skipwell, Elizabeth Farren as Florinda and Mary Bulkley as Letty. The Irish premiere took place at the Smock Alley Theatre in Dublin on 26 February 1787 It also subsequently appeared at both the Covent Garden and Theatre Royal, Drury Lane theatres.
Titanic
An outrageous one-act comedy aboard the Titanic follows the Tammurai family and shipboard figures through shifting identities, sexual entanglements, apparent disasters, and reversals of who is controlling events.
Tite et Bérénice
Tite is preparing to marry Domitie after Bérénice has been sent away from Rome, but her return renews the conflict between love, succession and public opinion. Bérénice refuses the Senate's offer to make her empress and leaves Rome, while Tite vows not to turn her renunciation into another marriage.
Titoudao
Through a play within a play, the life of street-opera performer Ah Chiam unfolds: she and her sister are sent to an opera troupe, while a staged tale follows servant Titoudao. The drama then turns to Ah Chiam's romance, marriage and in-laws, and her enduring commitment to performing, culminating in her onstage recollection of her wayang life.
Titus Andronicus
Roman general Titus Andronicus returns from war with Tamora, Queen of the Goths, and her sons as captives. After Titus sacrifices her eldest son, Tamora and her allies exact revenge, setting off a cycle of violence that destroys both families.
Titus and Berenice
Titus and Berenice is a 1676 tragedy by the English writer Thomas Otway. It portrays the relationship between the Roman Emperor Titus and the Jewish Queen Berenice. It premiered at the Dorset Garden Theatre, staged by the Duke's Company. It was inspired by Jean Racine's 1670 French work Bérénice. The original cast included Thomas Betterton as Titus Vespatian, William Smith as Antiochus, Matthew Medbourne as Paulinus, John Crosby as Arsaces, Thomas Gillow as Rutilius, Mary Lee as Berenice and Elizabeth Barry as Phaenice. Another new work by Otway, a farce The Cheats of Scapin was performed as an afterpiece. Both plays were published together the following year and dedicated to the Earl of Rochester.
To Be Young, Gifted and Black: Lorraine Hansberry in Her Own Words
A biographical stage work assembled from Lorraine Hansberry's letters, interviews and journal entries, tracing her life from childhood in Chicago through her Broadway success with A Raisin in the Sun, her marriage and political commitments, and her final illness.
To Be or Not to Be
In Warsaw in 1939, theater troupe leaders Josef and Maria Tura become involved in pre-war intrigue and help catch a spy, with the assistance of fighter pilot Stanislaw Sobinski, who is romantically drawn to Maria.
To Damascus
A three-part cycle traces the Stranger’s spiritual journey through a series of encounters. In Part I, he passes through seven stations on the way to an asylum, then retraces them in reverse to his starting point on a street corner.
To Dorothy, a Son
To Dorothy, a Son is a 1950 comedy play by the British writer Roger MacDougall. The plot revolves around a complex inheritance in which the American ex-wife of a man tries to prevent his current pregnant wife giving birth before a certain day, in order that she can claim the money. It premiered at the Theatre Royal, Nottingham before it transferred to London's West End where it ran for 515 performances between 23 November 1950 and 16 February 1952 initially at the Savoy Theatre before moving to the Garrick Theatre. The original London cast included Richard Attenborough, Sheila Sim, Yolande Donlan and Gwenda Wilson. A 1951 Broadway version at the John Golden Theatre, with adaptations by Otis Bigelow and a cast that included Ronald Howard and Glynis Johns, lasted for just 8 performances. It was revived in 1976 with Leslie Phillips and Hilary Pritchard in the cast.
To Fall in Love
Merryn and Wyatt, a married couple separated by a devastating accident, meet to try an exercise of 36 questions and sustained eye contact. They hope it can reconnect them and save their relationship.
To Gillian on Her 37th Birthday
David, still grieving his wife Gillian’s death, continues an imagined romance with her ghost during walks on the beach. His daughter Rachel and visiting relatives need him to return to the present and help the family face its losses.
To Hell in a Handbag: The Secret Lives of Canon Chasuble and Miss Prism
Following Canon Chasuble and Miss Prism beyond their appearances in The Importance of Being Earnest, the play begins with their walk to and from the schools. It traces their precarious lives on Victorian society's lower rungs and their mutual dependence, then turns their relationship after Wilde's comedy ends.
To Hell with the Goddamn Spring
A monologue follows Edwin Rodríguez Vuelvas, a provincial bureaucrat who transforms into a drag queen while recounting an unrewarding life, a troubled childhood, and fleeting happiness at a drag pageant before returning to loneliness and nihilism.
To Kill a Mockingbird
To Kill a Mockingbird is a 2018 play based on the 1960 novel of the same name by Harper Lee, adapted for the stage by Aaron Sorkin. It opened on Broadway at the Shubert Theatre on December 13, 2018. The play opened in London's West End at the Gielgud Theatre in March 2022. The show follows the story of Atticus Finch, a lawyer in 1930s Alabama, as he defends Tom Robinson, a black man falsely accused of rape. Varying from the book, the play has Atticus as the protagonist, not his daughter Scout, allowing his character to change throughout the show. During development the show was involved in two legal disputes, the first with the Lee estate over the faithfulness of the play to the original book, and the second was due to exclusivity to the rights with productions using an earlier script by Christopher Sergel. During opening week, the production garnered more than $1.5 million in box office sales and reviews by publications such as the New York Times, LA Times and AMNY were positive but not without criticism.
To Marry or Not to Marry
To Marry or Not to Marry is an 1805 comedy play by the British writer Elizabeth Inchbald. It premiered at the Theatre Royal, Covent Garden in London on 16 February 1805. The original cast included Joseph Shepherd Munden as Lord Danberry, John Philip Kemble as Sir Oswin Mortland, Charles Farley as Willowear, George Frederick Cooke as Lavensforth, Julia Glover as Lady Susan Courtley and Mary Ann Davenport as Sarah Mortland. It was the last of Inchbald's new plays to be staged in her lifetime.
To Mee Navhech
In a courtroom, conman Lakhoba Lokhande contests testimony from people who identify him as several fraudsters, repeatedly claiming mistaken identity; the action uses witness accounts and flashbacks.
To Pay the Price
Based in part on Yonatan Netanyahu’s letters and interviews with his friends and family, the play examines his life and legacy, including his leadership during the hostage rescue at Entebbe and the events that led to the operation.
To Quito and Back
To Quito and Back is a 1937 American play by Ben Hecht. It was neither a commercial nor a critical success. Mounted by the Theatre Guild, it premiered at the Colonial Theatre in Boston on September 20, 1937. It transferred to Broadway's Guild Theatre where it opened on October 6, 1937. The cast was led by Leslie Banks as Alexander Sterns, Francis Compton as Howard Evans, and Sylvia Sidney as Lola Hobbs.
To W.H.
A dramatic exploration of Shakespeare’s possible sexuality and the identity of the mysterious W.H. addressed in his work. The play follows Shakespeare’s life from his first meeting with W.H. to his death in Stratford, with blues-style sonnet performances by the Dark Lady.
To the Green Fields Beyond
A play about the experiences of a tank crew in 1918 during the First World War.
To the Ladies
The Beebe's live on the ground floor of a two family home, with Chester Mullin and his parents living above them. The Beebe's have been married six months. Leonard Beebe is a clerk with John Kincaid's Sons, a piano manufacturer. Chester also works there in a lower position. Leonard is hoping to be promoted to Chief Clerk, for the Beebe's are running a deficit due to Leonard's investing in a grapefruit farm in Florida. Act I (The Beebe's living room, in Nutley, New Jersey. Saturday afternoon.) Leonard and Elsie fuss around waiting for the Kincaids to arrive. Elsie is ready to play their Kincaid piano and sing when they do come, but is worried about the unpaid bill for it. Chester drops in to their annoyance. He has heard about the visit and is determined to get something out of it. When the Kincaids arrive, he tries to pitch Mr. Kincaid to back his vaudeville act but is shot down. Elsie is ready to play the piano when two truckmen arrive to repossess it. John Kincaid pays the overdue amount for the Beebes. He and Mrs. Kincaid prepare to depart, obviously disappointed in the Beebe's profligacy. However, Elsie persuades them by explaining how Leonard has invested a lot of money into a grapefruit farm, hence their indebtedness. She convinces Mrs. Kincaid, not of Leonard's worthiness, but of her own. Mrs. Kincaid gives Mr. Kincaid the signal, and he invites the Beebes to the annual banquet for top employees. After they leave, Leonard is determined to give a speech from out of an advertised book of speeches, which he buys after borrowing $3 from Chester. (Curtain) Act II (Scene 1: Same, two weeks later.) Leonard rehearses speech number 47 from the book he bought. Elsie quizzes him to make sure he understands when and how to deliver the phrases. When the evening newspaper is delivered, Leonard reads that his grapefruit farm was a scam and the perpetrator has been arrested. Chester arrives, listens to the speech, and announces he's quitting John Kincaid's Sons to go on the road with vaudeville... but not right away. He leaves when the taxi comes to take the Beebe's to the annual banquet. As they exit, Leonard realizes he's forgotten his speech, only to see Elsie pull it from her purse and smile. (Black out-- dark change to second scene) (Scene 2: The annual dinner of John Kincaid's Sons, Hotel Commodore, New York City.) Thirteen people sit in a row at a banquet table, facing the audience. From off to the right an off-stage speaker drones on about a strike at the company's Framingham plant. The Toastmaster hurridley thanks him at a pause, and quickly introduces the Politician, who gives a short speech. Next is John Kincaid, who is applauded and cheered immoderately by his employees. He introduces Tom Baker, Leonard's rival for the Chief Clerk position. Within two sentences the Beebes realize he is delivering speech number 47, the same one Leonard memorized. Leonard is paralyzed when called to speak next, but Elsie saves the day by claiming he has laryngitis. She will deliver a speech Leonard wrote she informs the waiting audience, and makes one up impromptu. The speech is received well, and Leonard is once more grateful to his loyal and resourceful wife. (Curtain) Act III (The outer office of Mr. Kinkaid, New York City, six months later.) Leonard has been promoted to Mr. Kincaid's secretary on the basis of Elsie's speech. He has filled the office with labor-saving gadgets that either don't work or are too difficult to operate. Nevertheless, the efficient Miss Fletcher manages to cope. Elsie arrives to meet Leonard for lunch. He introduces her to Miss Fletcher; the women eye each other for possible threats to their respective positions. Chester enters to pester Miss Fletcher who quickly departs. Elsie goes to wait for Leonard in the lobby. Tom Baker comes in next, and through Chester's ignorance, learns Leonard was planning to deliver speech number 47 at the banquet. Tom accuses Leonard of hiding behind his wife, which Mr. Kincaid overhears. He decides to rescind Leonard's promotion, but Elsie returns in time to forestall him. She has brought Mrs. Kincaid with her. The two women join forces to remind Mr. Kincaid who really runs his company. He backs down, and the Beebe's embrace. (Curtain)
Toad of Toad Hall
Milne's stage version follows Toad's reckless motor-car obsession, imprisonment after stealing a car, escape, and return to Toad Hall, which has been taken over by weasels, ferrets, and stoats. With Mole, Rat, and Badger, he retakes his home.
Toast
Seven men work in a bread factory in Hull. One Sunday night, exhausted factory worker Nellie loses his vest in the dough mixture.
Tobacco Road
In desolate farm country in Georgia, the profitable tobacco crop has given way to cotton plantations, but poor planting practices have depleted the soil. The Lester family were once sharecroppers, but are now poverty-stricken and unable to cope with the bleak life they face. Jeeter Lester, the patriarch, lives in squalor with his wife Ada, their two children, 16-year-old Dude and 18-year-old Ellie May, and his mother. Ada is suffering from pellagra and Ellie May has a harelip, Jeeter and Dude are thin and emaciated, and the family wears tattered clothing. Sister Bessie Rice, a stout preacher of about 40, decides to marry Dude, who agrees when she promises to buy him a car. When Capt. Tim Harmon tells the family that the house and property are owned by the bank, Jeeter is given a chance to earn money so that they may keep living there, but he refuses. The youngest daughter Pearl tries to escape from her much older husband Lov Bensey, but Ada is run over by Dude's car as she attempts to help Pearl. As Ada lies dying, Pearl escapes and runs away; Jeeter sends Ellie May to Lov instead.
Today Is Friday
In a drinking place after Jesus's crucifixion, three Roman soldiers talk with the Hebrew bartender about the execution they witnessed. Their casual conversation includes one soldier's admission that he stabbed Jesus with a spear and reveals their irreverent view of the event.
Todros, Blow
A man living beyond his means has ordered his servant Todros to play a trombone whenever a creditor approaches. The play is now lost.
Tom & Viv
The play starts with the courtship between Eliot and Vivienne Haigh-Wood in 1914 and ends with their separation in 1933, followed by Vivienne's gradual mental health decline until her death in 1947. The play also follows the early career of T.S. Eliot, the death of Vivienne's father, and how her mother Rose dealt with her daughter's failing marriage and mental health.
Tom Cobb or, Fortune’s Toy
Young debtor Tom pretends to be a recently deceased man with the same name to escape his creditors. A wealthy family pays him to maintain the disguise, and he is drawn into an engagement with Caroline, who believes he is the suitor who jilted her; Tom ultimately discovers he is the dead man’s heir and marries her.
Tom Essence
Tom Essence; Or, The Modish Wife is a 1676 comedy play by Thomas Rawlins, sometimes also attributed to Edward Ravenscroft. It was first performed at the Dorset Garden Theatre in London by the Duke's Company. Along with Thomas Otway's The Soldier's Fortune, it incorporated scenes from Molière's The Imaginary Cuckold in an otherwise unrelated plot. The original Dorset Gardens cast included Anthony Leigh as Tom Essence, Thomas Percival as Old Monylove, John Crosby as Courtly, Henry Norris as Loveall, Thomas Gillow as Stanly, John Richards as Laurence, Margaret Hughes as Mrs. Monylove, Elizabeth Barry as Theodocia, Margaret Osborne as Luce, and Anne Shadwell as Mrs. Essence.
Tom Thumb
At King Arthur’s court, tiny hero Tom Thumb defeats giants and receives Princess Huncamunca’s hand, provoking Queen Dollalolla and Lord Grizzle to plot against the marriage. Fielding turns the low tragedy into burlesque as doctors mistake a monkey for Tom, Tom is swallowed by a cow, his ghost dies again, and the other characters kill one another in absurd tragic fashion.
Tom and Jerry, or Life in London
A three-act burletta following young men Tom and Jerry through London's high and low life, with songs, dance and loosely connected scenes. Moncrieff's adaptation became a major theatrical success and ran continuously at the Adelphi from November 1821 to March 1822.
Tomorrowland
After leaving her Virginia Woolf PhD program, young writer Anna takes a job on a children’s television show filmed in Orlando. The workplace’s commercial spectacle and shifting performances unsettle her, prompting an episodic, increasingly surreal search for purpose, identity and meaning amid a culture of youth and fantasy.
Tongues
A lone speaker on a bare stage tells the story of a nameless man and shifts into other voices, including a mother, a worker, and a voice addressing a blind person. Percussion accompanies the monologues.
Tonight We Improvise
A company of actors, directed by Doctor Hinkfuss, improvises a drama about the La Croce family after its move from Naples to Sicily. Their performance about family scandal, jealousy and loss breaks down as the actors resist Hinkfuss's control, turning the production itself into part of the play.
Tonight at 8.30
A cycle of ten one-act plays by Coward, mostly comedies with three serious pieces and four plays containing songs. The plays were presented in rotating triple bills; their subjects and tones vary rather than forming one continuous plot. The cycle includes We Were Dancing, The Astonished Heart, Red Peppers, Hands Across the Sea, Fumed Oak, Shadow Play, Family Album, Star Chamber, Ways and Means, and Still Life.
Tons of Money
Indebted inventor Aubrey Allington fakes his death and returns disguised as a Mexican cousin to claim an inheritance beyond the reach of his creditors. His plan spirals through mistaken identities, further staged deaths, and the arrival of the real cousin.
Tony Draws a Horse
Tony Draws a Horse is a comedy play by the British writer Lesley Storm. It was later adapted into a 1950 film of the same title. It premiered at the Liverpool Playhouse before transferring to the West End where it ran for 363 performances between 26 January 1939 and 6 January 1940, initially at the Criterion Theatre before moving to the Strand Theatre and then the Comedy Theatre. Actors who appeared in the London version included Nigel Patrick, Cyril Raymond, Stewart Granger, James Harcourt, John Turnbull, Anthony Holles and Diana Churchill. It also ran for 13 performances as Billy Draws a Horse at the Playhouse Theatre on Broadway.
Tony Lumpkin in Town
Tony Lumpkin in Town is a 1778 Irish comedy play by John O'Keeffe. An afterpiece, it was intended as a sequel to the 1773 play She Stoops to Conquer by Oliver Goldsmith. It is centred on the character Tony Lumpkin. It ran successfully at the Theatre Royal, Haymarket in London. The original cast included William Parsons as Tony Lumpkin, Robert Palmer as Doctor Minum and Charles Bannister as Tim Tickle.
Tony n' Tina's Wedding
An interactive, improvisational comedy stages an Italian American wedding and reception, treating the audience as guests while the cast exaggerates familiar family and community stereotypes.
Too Bad For Her
A compassionate, perverse exploration of a thirty-year affair and its consequences, concerned with love, art and living outside conventional bounds.
Too True to Be Good
A sick young woman escapes her stifling home with her nurse and the nurse’s boyfriend, reaching a jungle outpost where colonial authority is unsettled by a seemingly unassuming private. The play shifts from surreal allegory into extended discussions of religion, science and politics as its characters confront boredom, illness and the failure of their institutions.
Too Young for Ghosts
The play intertwines the experience of Latvian migrants in 1948 with the 1845 expeditions of explorer Ludwig Leichhardt, probing two points of contact between European migrants and northern Queensland.
Top Girls
Career-driven Marlene celebrates her promotion over dinner with women from history and fiction, whose stories reveal the costs of ambition. In the modern office and family scenes, Marlene’s troubled niece Angie visits, and a later family confrontation reveals Marlene is Angie’s mother, who left her in her sister Joyce’s care.
Top Secret
Top Secret is a comedy play by Alan Melville which was first performed in 1949. It is a farce revolving around an ambassador. It premiered at the Theatre Royal, Newcastle before transferring to the Winter Garden Theatre in London's West End where it ran for 21 performances between 19 October and 5 November 1949. The original West End cast included Tom Gill, Hugh Wakefield, Frederick Valk and Beryl Measor. It was not well-received, and was reportedly booed by audiences on its opening night. A review in The Stage considered it was too long and needed speeding up. Its short run was in contrast to Melville's other play of 1949, Castle in the Air which was a hit running for nearly 300 performances.
Top Silk
A legal-aid solicitor and a prominent barrister compete over their careers and the future of their teenage son.
Topal Teymur
A five-act historical drama about Timur and the ideal of uniting Turkic, Tatar, and Mongol peoples under a Turan empire.
Topaze
Topaze, an honest boarding-school teacher, is fired after refusing to falsify a wealthy student’s grades. His private pupil’s aunt, Suzy, draws him into the shady business of her lover, municipal counsellor Castel-Bénac, first using him as a frontman and then watching him become a confident businessman who launches his own ventures.
Topdog/Underdog
The play chronicles the adult lives of two African-American brothers as they cope with poverty, racism, work, women, and their troubled upbringings. Lincoln lives with Booth, his younger brother, after being thrown out by his wife. Booth reminds Lincoln that his presence was meant to be a temporary arrangement. But Lincoln, who works at an arcade as a whiteface Abraham Lincoln impersonator, is their only source of income. While the work is honest, both brothers find it humiliating. Booth repeatedly attempts to persuade Lincoln to return to running games of three-card monte. Lincoln had sworn off the hustle after one of his crew had been shot dead, believing he would be next. Idolizing his brother's former glory, Booth aspires to become a three-card monte card sharp, frequently practicing the routine in his apartment, although his act is awkward; his own talent lies in shoplifting. Booth is preoccupied with a woman named Grace whom he tries to impress with shoplifted luxuries. He boasts to his brother about their relationship, but in truth she spurns his advances. Lincoln reveals that his wife Cookie had misread his depression as lack of interest in her, before she threw him out and slept with Booth. In the present, Lincoln is about to be laid off, replaced at his job by a wax model. Booth suggests that Lincoln save his job by vividly acting out Abraham Lincoln's death throes after the customers shoot him with the provided blank—an idea they rehearse before abandoning. The brothers reflect on their past together: Their parents deserted them as teenagers. Each parent, before leaving with a new lover, left one brother $500 in cash, which they refer to as their "inheritance". Lincoln spent his; Booth saved and hid his, never even opening the stocking that held it. After losing his job at the arcade, Lincoln returns to three-card monte the next day and comes home exuberant. Meanwhile, Booth boasts that Grace has proposed marriage to him. Lincoln suggests that Booth find employment in order to keep Grace, calling his card shark abilities "double left-handed." Insulted, Booth challenges him to a game of three-card monte. Lincoln leads him to believe that he can win, inducing Booth to wager his $500 inheritance on the game before beating him. Laughing, Lincoln explains that the conceit behind three-card monte is that the dealer always decides when he wins. Over Booth's protests, he tries to open the stocking containing the inheritance. An agitated Booth reveals that he had shot Grace. Lincoln attempts to return the inheritance, but Booth dares him to open it instead. As Lincoln cuts the stocking, Booth brings a gun to Lincoln's neck and shoots him. Booth rants at his brother's corpse for mocking him and stealing his inheritance, before crumpling and sobbing over the dead body.
Topless
On an open-top sightseeing bus, London tour guide Sandie points out the sights while revealing details of her personal life. Although written for theatre, the original production played on a moving double-decker bus.
Torch Song Trilogy
Each act focuses on a different phase in Arnold's life. In the first, Arnold meets Ed Reiss, who is uncomfortable with his bisexuality. This becomes an increasing source of conflict between the two, causing Ed to eventually leave Arnold and settle down with a woman named Laurel. Arnold is heartbroken because he still loves Ed. In the second, one year later, Arnold meets Alan, and the two settle down into a blissful existence that includes plans to adopt a child. The couple visits Ed and Laurel in their country home, where the group deals with tensions resulting from Ed and Arnold’s previous relationship. The segment ends with Laurel telling Arnold she and Ed are engaged. In the third, several years later, Arnold is a single father raising gay teenager David. It is revealed that just before receiving David from the state, Alan was the victim of a violent hate crime, resulting in his death and leaving Arnold to raise a child on his own. Ed is separated from Laurel, and stays at Arnold’s to help him. The play revolves around Arnold’s struggle to move on following Alan’s death as he is forced to deal with his mother's ("Ma") intolerance and disrespect when she visits from Florida. The first act derives its name (International Stud) from an actual gay bar of the same name at 117 Perry Street in Greenwich Village in the 1960s and 1970s. The bar had a backroom where men engaged in anonymous sex. The backroom plays a central role in the act. The trilogy derives its title from the “torch” musical style which are “popular sentimental song[s] of unrequited love.” The award-winning and popular work broke new ground in the theatre: "At the height of the post-Stonewall clone era, Harvey challenged both gay and straight audiences to champion an effeminate gay man's longings for love and family."
Torioi-bune
An absentee husband leaves a steward in charge of his estate. The steward gradually exerts power over the mother and her son, Hanawaka, until both are forced to scare birds from a boat in the rice fields.
Torquato Tasso
Goethe’s verse drama portrays the sixteenth-century Italian poet and courtier Torquato Tasso and his descent into madness.
Torquemada
Victor Hugo's play about Tomás de Torquemada and the Spanish Inquisition, criticizing religious fanaticism and Catholic fanaticism.
Touch Wood
A drama centered on a love triangle.
Touched
Set during the hundred days between VE Day and VJ Day in 1945, this play follows working-class women in Nottingham, especially Sandra and her sisters. After losing a child to a car during the blackout, Sandra hopes peace will bring a different future; the women's relationships and loyalties are tested by grief and the return of Italian prisoners of war.
Touching the Void
The play is set in 1985, on Siula Grande in the Peruvian Andes. It follows Joe Simpson and Simon Yates as they climb the west face of the Siula Grande, becoming the first climbers to reach the summit using the west face. Descending down the north ridge tragedy struck as Simpson slipped down an ice cliff, breaking his right leg. With Simpson incapacitated Yates lowered Simpson off the North Ridge by tying two 150-foot lengths of rope together to make one rope. With worsening conditions, frost bite and complications with the knots Yates inadvertently lowered Simpson off a cliff and Simpson accidentally dropped one of the cords required to ascend the rope. Simpson could not climb up the rope, Yates could not pull him back up, the cliff was too high for Simpson to be lowered down, and they could not communicate. Yates had to make the hard decision to cut the rope in order to save his own life. Yates cut the rope, plummeting Simpson down the cliff into a deep crevasse. Exhausted and suffering from hypothermia, Yates dug himself a snow cave to wait out the storm. Assuming Simpson was dead Yates carried on descending the mountain by himself. Simpson, however, was still alive. He had survived the 150-foot fall despite his broken leg and had landed on a small ledge inside the crevasse. When Simpson regained consciousness, he discovered that the rope had been cut and realized that Yates would presume that he was dead. He therefore had to save himself. It was impossible for Simpson to climb up to the entrance of the crevasse, therefore his only choice was to lower himself deeper into the crevasse and hope that there was another way out. After lowering himself, Simpson found another small entrance and climbed back onto the glacier via a steep snow slope. In all Simpson spent three days without food and with almost no water, crawling and hopping five miles back to their base camp. Exhausted and almost completely delirious, he reached base camp only a few hours before Yates intended to leave the base camp and return to civilisation.
Toussaint Louverture: The Story of the Only Successful Slave Revolt in History
A three-act historical drama about Toussaint Louverture, leader of the Haitian Revolution.
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