Woman to Woman
A British officer and a French dancer meet during the First World War and begin a doomed romance.
Plays
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Woman's Wit; or, Loves Disguises is an 1838 comedy play by the Irish writer James Sheridan Knowles. It premiered at the Theatre Royal, Covent Garden on the 23 June 1838 with a cast that included James Warde as Lord Athunree, George Bartley as Sir William Sutton, William Macready as Walsingham, John Langford Pritchard as Felton, John Pritt Harley as Clever and Helena Faucit as Hero. Knowles dedicated the play to the writer Samuel Rogers.
Woman’s Wit
Longeville tries to reveal that Leonora is unfaithful to her fiancé Lovemore. Leonora turns the accusation back on him, claiming he is plotting to win her himself, and their rival deceptions multiply until she is forced to confess. A separate comic subplot follows the Rakish family.
Women Aren't Angels
Two music-shop proprietors try to hide a young woman staying in one of their homes from their domineering wives, then become entangled in a German espionage plot while serving in the Home Guard.
Women Behind Bars
In a women's prison, an innocent woman framed for armed robbery is brutalized until she emerges as a hardened drug dealer. Her story unfolds among a chain-smoking tough girl, a Southern belle, and the sadistic matron who oversees them.
Women Beware Women
In Florence, Bianca elopes with the poor Leantio, but his decision to confine her allows the Duke to pursue and rape her with help from Livia. Bianca becomes the Duke’s mistress, while Livia and Leantio begin an affair. A parallel plot follows Hippolito’s incestuous relationship with his niece Isabella. As betrayals surface, a wedding masque erupts in violence and kills the principal characters.
Women Laughing
At a garden party in Ealing, two couples struggle to converse while the wives' laughter and talk about their husbands interrupt them. When the women join the men, a confrontation follows; in the second act, the couples' positions reverse as the setting shifts toward a mental hospital.
Women Pleased
A Florentine tragicomedy follows Silvio and Belvidere, whose love is tested by her mother’s riddle, a year of exile, a disguised encounter and a war with Siena; a subplot tests the fidelity of Isabella, a young wife pursued by a suitor who proves to be her brother in disguise.
Women Without Men
At an Irish girls’ boarding school in the late 1930s, idealistic new teacher Jean Wade unsettles the staff’s close, controlled social world. When the manuscript documenting Miss Connor’s moral deeds is destroyed, suspicion falls on Jean and accusations expose the group’s rivalries, ambitions and isolation.
Women of Colchis
In Sophocles’ version of the Argonauts’ quest, Medea advises Jason on obtaining the Golden Fleece and kills her young brother Absyrtus inside the palace as the heroes prepare to flee Colchis.
Women of Manhattan
A comedy about three women sharing social lives on Manhattan’s Upper West Side: Rhonda has recently split with her boyfriend, Billie is married, and Judy repeatedly dates men who turn out to be gay. The play unfolds in four vignettes.
Women of Owu
After a nineteenth-century invasion destroys Owu's male population, the surviving women face grief, trauma, and resistance under the conquering forces. Osofisan reworks Euripides' Trojan Women in the history of the Owu kingdom.
Women of Trachis
Deianeira, fearing that Heracles has taken a new lover, sends him a robe treated with what she believes is a love charm. The poisoned robe kills him; after learning the truth, their son Hyllus helps Heracles fulfill his final requests as Deianeira dies by suicide.
Women of Twilight
In a London lodging house, unmarried young mothers and their babies are exploited by the unscrupulous proprietor, Helen Allistair. Vivianne confronts Helen over her baby-farming, is attacked, and ultimately sees justice done.
Women of the Fur Trade
In a fort during the Red River Resistance, Métis woman Marie-Angelique, Ojibwe trapper Eugenia and European settler Cecelia discuss the fur trade, European influence and Louis Riel. The play shifts between 19th- and 21st-century language and perspectives.
Wonder of the World
Cass leaves her husband after discovering his sexual fetish involving Barbie heads and takes a bus to Niagara Falls in search of freedom and meaning. Along the way she encounters a suicidal alcoholic, a lonely tour-boat captain, private detectives, and a clown therapist.
Wood for the Fire
Two CIA operatives respond in different ways to the growing role of Pakistan's Inter-Services Intelligence in supplying the Mujahideen for their war against the Soviets.
Words, Words, Words
Three intelligent chimpanzees named Kafka, Milton and Swift share a cage while an unseen scientist tests whether random typing will produce Hamlet. They debate the experiment and attempt to understand or resist it; Kafka ultimately begins typing Hamlet's opening lines.
Work Song: Three Views of Frank Lloyd Wright
The play examines the relationship between Frank Lloyd Wright's personal life and architectural work through an ensemble portraying people central to his life, including Louis Sullivan, Ayn Rand, Alexander Woollcott, his family, and Mamah Cheney.
Wounded
Set in a rehabilitation home at Walter Reed Medical Center, the play follows four young veterans and their families as they try to readjust to life after physical and psychological injuries.
Woyzeck
Soldier Franz Woyzeck supports Marie and their child with menial work and medical experiments. As his mental health deteriorates, Marie turns to a drum major; Woyzeck confronts and is humiliated by him, then stabs Marie by a pond. Büchner’s fragment ends with Woyzeck trying to clean the blood from the knife and dispose of it.
Woza Albert!
The two actors play roles of various black South Africans – a vendor, barber, servant, manual labourer, soldier – receiving the news that Christ (Morena) has arrived in South Africa, where a Calvinist white elite imposes apartheid. Christ's arrival precipitates a crisis, and the government launches a nuclear bomb against the peacemaker. In the ruins, great South African leaders in resistance to apartheid such as Albert Luthuli, former president of the African National Congress, are resurrected. They play dozens of parts that involve them using many skills such as acting, mime, singing and dance. They also create images using a few words and actions
Wrecks
In a solo monologue, Edward Carr confronts his wife’s death and reveals the dark secret that brought them together.
Wrestling Jerusalem
In a one-person performance, Aaron Davidman portrays seventeen people with contrasting backgrounds and viewpoints as he seeks to understand experiences shaped by the Israeli-Palestinian conflict, social division and identity.
Write Me a Murder
The play tells the story of the brothers Clive and David Rodingham, who inherit the family fortune upon the death of their father. They then meet business man Charles and his wife Julie, a would-be thriller writer. Charles is anxious to work with the brothers on property deals, and so encourages David, who is also a writer, to co-write a murder story with Julie. It isn’t long before the two concoct the perfect crime, which twisted into a reality.
Written on the Heart
The play examines William Tyndale's and Lancelot Andrewes's involvement in biblical translation; its title comes from their translation of Jeremiah 31:33 in the King James Bible.
Wurzel-Flummery
Politician Robert Crawshaw can inherit fifty thousand pounds only if he takes the name Wurzel-Flummery. His family and friends challenge his attempts to reconcile the windfall with his dignity and public reputation.
Y'avait un prisonnier
After a businessman's error leads to bankruptcy and a fifteen-year Italian prison sentence, Ludovic rejoins his family on his brother-in-law's yacht at Cannes. His brother-in-law has arranged the marriage of Ludovic's stepdaughter to an influential young man to restore the family's standing, but Ludovic's prison experience has changed him.
YAGA
A small-town murder draws a sheriff, a young detective and a university professor into an investigation of secret relationships and ancient magic. The mystery reimagines Baba Yaga as its characters’ accounts of predator and prey begin to shift.
Yahudi Ki Ladki
A historical Urdu play about Roman persecution of Jews, adapted from W. T. Moncrieff's 19th-century play The Jewess.
Yajnaseni
A solo play that reinterprets the Mahabharata from Draupadi’s perspective, presenting Yajnaseni alone in the scenes while retaining the basic conception of her story.
Yama Zhao
During China’s Warlord Era, unpaid soldier Zhao Da steals his battalion’s payroll and flees into a forest. Lost and tormented by hallucinations, he is killed by pursuers; his fellow soldier Li buries him and escapes with the hidden money.
Yamanba
A celebrated dancer journeys toward Zenkōji and encounters an old woman in the mountains who asks to hear the dancer’s song about Yamanba. Revealing herself as the mountain spirit, she returns in demon form, takes over the performance, and completes the dance before vanishing into the mountains.
Yamata Amasung Keibu Keioiba
The play interweaves the Japanese tale of Yamata-no-Orochi and the Meitei tale of Keibu Keioiba, exploring sacrifice and endurance through the two mythic traditions.
Yasser
In a provincial European theatre dressing room, Palestinian actor Yasser Mansour prepares to play Shylock. As he reflects on his life in Palestine, discrimination and prejudice in the West, the role gives him a lens on emancipation and the parallels of Jewish and Arab histories.
Year of the Rat
On Jura, where George Orwell is writing Nineteen Eighty-Four, Orwell and Cyril Connolly both pursue Sonia Brownell as she grieves a failed relationship. Their conversations draw on school and Spanish Civil War memories while Orwell works through his anger at Stalinist purges; symbolic figures punctuate the action, and after Orwell's death Sonia packs his books wanting to know more.
Yellow Face
Yellow Face opens with DHH receiving an e-mail from Marcus G. Dahlman in 2006 about his recent travels in China. DHH reflects on how Marcus disappeared from the public eye. He begins in 1990 with the controversy over the casting of Jonathan Pryce, a Welsh actor, in an Asian role in Miss Saigon as the musical transfers from London to New York City. Although DHH receives a lot of publicity about his protests against the casting and yellow face makeup, especially as the first Asian-American playwright to win a Tony Award (for M. Butterfly), the production of Miss Saigon ultimately continues without changes to the cast. DHH then writes the play Face Value, based partly on the Miss Saigon controversy, and casts Marcus G. Dahlman as one of the lead Asian roles in his play. DHH is at first convinced that Marcus is part Asian but eventually realizes he is fully white. DHH fears he will appear hypocritical for the casting after his protest of yellow face, but is unable to fire Marcus on the basis of his race. DHH has him adopt the name "Marcus Gee" and tells the public that Marcus has Eurasian ancestry as a Jew with Siberian ancestry. Though their deception is successful, Face Value receives negative reviews and closes in previews, losing $2 million. DHH tries to move on, but he later discovers that Marcus has continued playing his role as an Asian in all parts of his life, acting in Asian roles and becoming an activist for Asian American rights. This angers DHH, who views him as an "ethnic tourist". The play further explores DHH's relationship to his father, HYH, and the relationship of the Chinese American community to America. HYH is a successful immigrant who built the Far East National Bank in California. After contributing monetarily to political campaigns, he and others affiliated with the bank, including Wen Ho Lee, are investigated by Senator Fred Thompson, who believes they are funneling money from China to influence American politics. In the course of this, DHH and Marcus are implicated as Chinese collaborators. DHH beseeches Marcus to reveal his true identity as white, deciding he cares more about defending the Chinese American community than hiding his mistakes. Marcus ends his deception, and Thompson's investigation breaks down. DHH's father dies in 2005, having lost faith in the American Dream. DHH and Marcus converse after their e-mails, before DHH admits to the audience that Marcus is an entirely fictional character he created to explore messy questions about race and nationality. At the character’s request, DHH writes Marcus a "happy ending" in which he moves to a small village in China and is eventually accepted into the community there.
Yellow Fever
Private detective Sam Shikaze is hired to find the missing Cherry Blossom Queen in Vancouver’s Powell Street Japantown. As he investigates, racism and political intrigue lead toward the Hong Kong tongs, while a lawyer, a reporter, and a police captain become involved in the case.
Yellow Jack
After the Spanish–American War, Walter Reed’s medical commission investigates yellow fever in Cuba. When animals prove immune, Pvt. John O’Hara volunteers to be exposed to the disease.
Yellow Sands
A wealthy dying woman's relatives gather, unaware that they have all been cut out of her will.
Yellowman
The play follows Alma, a dark-skinned Black woman, and Eugene, a very fair-skinned Black man, from childhood on the South Carolina coast through adulthood in New York. Their friendship becomes a relationship as they confront colorism, class, family and personal tragedy. Eugene’s inheritance and conflict with his father lead to murder and imprisonment, while Alma is left pregnant and ends her pregnancy.
Yentl
Yentl is a play by Leah Napolin and Isaac Bashevis Singer. Based on Singer's short story "Yentl the Yeshiva Boy" (first published in September 1962 in Commentary magazine and later included in the 1963 collection Short Friday and Other Stories), it centers on a young woman who defies tradition by discussing and debating Jewish law and theology with her rabbi father. When he dies, she cuts her hair, dresses as a man, and sets out to find a yeshiva where she can continue to study Talmud and live secretly as a male named Anshel. When her study partner Avigdor discovers the truth, she is conflicted about pursuing a relationship with him because it will compromise her higher calling. The play focuses on the spiritual equality of women in a segregated Jewish society that does not see women as equals to men, but at the same time prioritizes religion and relationship to God above all else. More generally, the play's conflict is between one's need for self-actualization and the demands of society as well as one's baser desires. Another play of the same name, Yentl, based on the same story, was written by Gary Abrahams, Elise Hearst and Galit Klas, and first produced in Australia in 2022.
Yerma
Yerma longs for a child, but her marriage to Juan remains distant and childless. Although she is attracted to Victor and later urged to leave Juan, her sense of honor keeps her bound to the marriage. When Juan finally tells her he will never want children, her desperation ends in his death and the loss of her hope for motherhood.
Yes and No
A fictional director discusses a play script with an actor who answers only “Yes” or “No.” The one-act dialogue grew from Greene’s observations of director John Gielgud and actor Ralph Richardson rehearsing The Complaisant Lover.
Yesterday Was a Weird Day
A documentary-theatre work about the 7 July London bombings, juxtaposing immediate reactions with later interviews and reenacting the recorded testimonies alongside visual and audio footage.
Yesterday the Children Were Dancing
On the day Quebec politician Pierre Gravel is offered the justice ministry, he learns that his son André is a Quebec separatist plotting to destroy a statue of James Wolfe. Father and son argue over political loyalties and motivations, with the family conflict shaped by their shared affections for Louise Gravel.
Ying and Yan
In a storm-bound manor in 1882, detective Erast Fandorin and his Japanese manservant Masa investigate deaths and a magical fan amid a family’s inheritance dispute. The printed play offers White and Black versions with the same basic plot but different dramatic worlds and details.
York Mystery Plays
A civic cycle of Middle English mystery pageants dramatizing sacred history from Creation to the Last Judgment. York craft guilds organized the plays, which were traditionally staged on pageant wagons at stations around the city.
Yoroboshi
Falsely accused and rejected by his family, a young man becomes blind from grief and lives as a beggar. His repentant father comes to pray for him at Shitennōji temple in Osaka, where their paths meet again.
Yoshitsune Senbon Zakura
Pursued by his brother Yoritomo’s agents, Yoshitsune travels with Shizuka and Benkei while seeking three surviving Taira generals. The generals and their families conceal their identities among merchants, travelers, and monks; their schemes lead to combat, mistaken loyalties, and tragic sacrifices. Meanwhile, a fox spirit disguised as Yoshitsune’s retainer Tadanobu seeks the drum made from his parents’ skins. The conflicts are resolved in a final confrontation, restoring peace.
Yoshitsune Shin-Takadachi
In a jōruri puppet play set in twelfth-century Japan, Yoshitsune seeks reconciliation with his brother Yoritomo but is offered impossible conditions; the shogunal army ultimately attacks his Takadachi fortress. The story alludes to the 1615 siege of Osaka through the brothers' conflict and the military events.
Yotsuya Kaidan
Ronin Tamiya Iemon murders his father-in-law and conspires with Naosuke to deceive Oiwa and her sister. After Oiwa is poisoned and dies cursing Iemon, her ghost haunts him through his engagement and flight, while the sisters' family seeks revenge.
You Can't Take It with You
The story takes place entirely in the home of the Sycamores, a slightly odd New York City family. Grandpa Vanderhof, the family patriarch, is a whimsical old man who keeps pet snakes and hasn’t worked a day in thirty-five years. His daughter, Penny, is a writer of racy melodrama plays. Penny’s husband, Paul Sycamore, manufactures fireworks in the basement with the help of his assistant, Mr. De Pinna, who used to be the family's iceman. Paul and Penny have two daughters: Essie, a candy maker who dreams of being a ballerina, even though she is a terrible dancer, and Alice, an office worker who is relatively “normal” compared to the rest of the family. Also living in the house are Essie’s husband Ed Carmichael, the family’s maid Rheba, and her boyfriend Donald, who works as the family’s handyman. Essie tells Grandpa that some letters have arrived for him from the United States Government, but that she misplaced them. Shortly afterwards, Alice comes home and announces that she has fallen in love with Tony Kirby, vice-president of Kirby & Co. and the son of her boss. Alice tells her family that Tony will be coming over shortly to take her on a date and goes upstairs to change clothes. The doorbell rings. Penny answers the door and greets the visitor, thinking he must be Tony. The man at the door clarifies that his name is Wilbur C. Henderson, and he is investigating Grandpa for his evasion of income tax for the last twenty-four years. Grandpa refuses to pay, stating he never believed in it, and that the government would not know what to do with the money if he did pay it, angering Henderson. Henderson spots Grandpa's pet snakes and flees the house in fear, but not before promising Grandpa that he will be hearing from the United States government. The real Tony Kirby arrives, and Alice is nervous that her family will scare him away. As they attempt to leave for their date, Mr. Boris Kolenkhov, Essie's eccentric Russian ballet instructor, arrives and complains to the family about the Revolution. During this discussion, Alice and Tony make their escape. The rest of the family sit down for dinner. Later that night, Tony and Alice return to Sycamore house. They are deeply in love, but Tony’s attempts to propose are repeatedly interrupted by the various members of the family. Finally, Tony and Alice become engaged to marry. Several days later, Alice has invited Tony and his parents over for dinner the next evening. Alice implores her family to act as normal as possible to make a good impression. Penny has brought actress Gay Wellington over to read over her latest play, but Gay becomes very drunk and passes out on the living room couch. Essie asks Ed to help deliver her candies around the neighborhood, but he is reluctant as he believes he was followed the last time. Mr. De Pinna comes up from the cellar carrying a painting that Penny had started of him as a discus thrower. He asks Penny to finish it and she agrees. She puts on her painting smock and Mr. De Pinna puts on a toga costume. Mr. Kolenkhov arrives and begins Essie's ballet lesson. Ed provides accompanying music on the xylophone. Rheba runs in and out of the kitchen cleaning. In the midst of the chaos, Tony, having forgotten for which night the dinner was planned, appears in the doorway with Mr. and Mrs. Kirby. Alice is incredibly embarrassed. Penny tells Alice not to worry, and insists that the Kirbys stay for dinner. Grandpa tries to keep the party under control for the sake of his granddaughter. Mr. Kirby, a straitlaced businessman, is unamused by Paul’s childish interests. Mrs. Kirby mentions her passion for spiritualism, which Penny derides. During a discussion of hobbies, Mr. Kolenkhov brings up that the Romans' hobby was wrestling, and demonstrates by throwing Mr. Kirby to the floor, angering him. To break the tension, Penny suggests they play a free association game and instructs everyone to write down "the first thing that pops into their heads" after she says certain words. The game seems to lighten the mood at first, but soon sparks an argument between Mr. and Mrs. Kirby after her answers reveal dissatisfaction with their sex life due to Mr. Kirby’s preoccupation with his work. Mr. and Mrs. Kirby order Tony to leave with them immediately, but he refuses. A humiliated Alice decides that their marriage will never work as their families are too different. She ends their engagement and resigns from her job. Before the Kirbys can leave, a group of government agents raid the house. The head G-man tells them that they are all under arrest, and reveals that Ed's notes from the candy boxes, on which he has printed anything that "sounds nice", have threatening and communist phrases written on them such as "DYNAMITE THE CAPITOL" and "GOD IS THE STATE, THE STATE IS GOD". The agents drag Mr. De Pinna out of the basement and report the discovery of massive amounts of gunpowder to the head G-man. De Pinna tries to explain to the agent that he has left his lit pipe downstairs, but is ignored. Another agent brings down the deliriously drunk Gay Wellington from upstairs. The fireworks in the basement go off, lit by the untended pipe, and everyone panics, leaving the whole house in an uproar. The next day, Donald and Rheba sit in the kitchen reading the paper, where the arrests have made headlines because of Mr. Kirby's presence. Both families have been released after spending the night in jail. A distraught Alice has decided to leave for a prolonged trip to the Adirondack Mountains to think things over. When the family forgets to call for a cab, she finally loses her temper, angered that her family cannot be "normal" at all. Tony arrives and tries to reason with Alice, but she refuses him. Mr. Kolenkhov appears with the Grand Duchess Olga Katrina. After discussing the sad fate of former Russian royalty now working menial jobs in New York, the Grand Duchess insists upon going into the kitchen to cook the dinner for the family. Mr. Kirby arrives to pick up Tony, and they get into a heated argument. Tony reveals that he had purposely brought his parents on the wrong night because he wanted his parents to see the Sycamores authentically. He expresses admiration for the love the Sycamores have for one another compared to his emotionally distant father. Grandpa tells Mr. Kirby that he is happy not to be working and posits that Mr. Kirby doesn’t really enjoy his Wall Street job. Tony admits that he found letters Mr. Kirby had written to his own father, expressing desires to be a trapeze artist and later a saxophone player. Grandpa tells Mr. Kirby that he should enjoy his life while he can. Tony agrees, deciding to leave the family business to find his own path in life, and Mr. Kirby finally gives in, giving his blessing to Alice and Tony’s engagement, which Alice accepts. Essie brings another letter to Grandpa from the government stating that he no longer owes them income tax. Grandpa reveals that he had tricked the IRS by claiming he was Martin Vanderhof Jr., and that the Martin Vanderhof they were looking for was his deceased father. This is corroborated because the milkman, who had lived with them prior to Mr. De Pinna, was buried under Grandpa’s name since the family never knew his real name. The play comes to a conclusion as the family, along with Tony and Mr. Kirby, sit down to dinner with the Grand Duchess. Grandpa says a touching prayer, and then they dive into the food.
You Got Older
After a breakup and job loss, Mae, in her thirties, struggles to balance romance with caring for her father, who has aggressive throat cancer. Absurd, often sexualized dreams and a cowboy figure shape her sense of helplessness.
You Know I Can't Hear You When the Water's Running
In The Shock of Recognition, playwright Jack Barnstable auditions Richard Pawling for a role that requires nudity and discovers the overeager actor is more than willing to show his stuff. The Footsteps of Doves focuses on Harriet and George, a married couple shopping for twin beds after many years of marriage. George, who is opposed to the change, strikes up a conversation with Jill, a considerably younger fellow shopper who shares his view. In I'll Be Home for Christmas, Chuck and Edith realize how empty their marriage has become as they await the arrival of their adult children. I'm Herbert is a scattered conversation between Herbert and Muriel, an elderly couple with memory problems who try in vain to recall their earlier relationships. After 15 previews, the original Broadway production opened on March 13, 1967, at the Ambassador Theatre. It transferred twice, to the Broadhurst Theatre and then the Lunt-Fontanne Theatre, before it completed its run of 756 performances on January 4, 1969. Directed by Alan Schneider, the opening night cast included Eileen Heckart, Martin Balsam, George Grizzard, and Melinda Dillon. Replacements later in the run included Larry Blyden, Irene Dailey, and William Redfield. Costume design was by Theoni V. Aldredge and lighting design was by Jules Fisher. Balsam won the Tony Award for Best Performance by a Leading Actor in a Play. Schneider was nominated for the Tony Award for Best Direction of a Play but lost to Mike Nichols for Plaza Suite.
You Me Bum Bum Train
An interactive theatre experience in which each visitor passes through a sequence of unforeseen scenes, sometimes watching and sometimes improvising a part without preparation.
You Never Can Tell
Mrs Clandon returns to England with her three children after eighteen years abroad. Her children unknowingly invite their estranged father to lunch, while dentist Valentine falls in love with Gloria, who rejects conventional romance. A wise waiter called William helps steer the family's comic confusions.
You're Welcome America. A Final Night with George W. Bush
The play starts with President Bush (Ferrell) telling the audience that this is his final farewell to the country. He then makes jokes about his life, such as his college years at Yale, his nickname “Gin and Tonic,” being born in Connecticut, his business that went bankrupt, and the Texas legislation which he as Governor signed into law that designated a day as "Jesus Day." Some of Bush's stories are humorous but false, such as having a sexual relationship with Secretary of State Condoleezza Rice and being AWOL from the Air National Guard. Bush's Secret Service agent Jerry dances onstage (sometimes with Bush's pilot) while Ferrell is offstage changing costume. Bush confronts a heckler in the third row, who is part of the cast. The play also acknowledges the hard decisions Bush faced during his term, such as deciding to send troops to the Middle East.
You, Always
Sisters Liz and Delia respond to life-changing news by moving through fifty years of shared memories. Their shifting recollections reveal the affection, friction, and dependence that bind their lives together.
You, Too, Can Have a Body
Two television writers work on a script while staying at a castle reputed to be haunted. Strange events and the legend of a tortured monk disrupt their visit.
Young England
Major Carlingford and his son conspire against a young scoutmaster, parliamentary candidate and councillor seeking to improve the Thames at Charing Cross.
Young Marx
In 1850 Soho, a broke and restless Karl Marx faces creditors, spies, rival revolutionaries and would-be seducers of his wife. With his writing blocked and marriage under strain, his only hope appears to be a railway job, while his friend Friedrich Engels despairs at his wasted talent.
Young Medardus
Set in Vienna during 1809, the historical drama follows Medardus Klähr, whose sister's death and conflict with the Valois family draw him into a doomed struggle involving Napoleon and Helene of Valois.
Young Mrs. Barrington
Young Mrs. Barrington is a 1945 play by the British writer Warren Chetham-Strode. It concerns the return home of a fighter pilot following the Second World War. It premiered at the Lyceum Theatre, Edinburgh before transferring to the Winter Garden Theatre in London's West End where it ran for 140 performances between 11 September 1945 and 3 January 1946. The original West End cast included Peter Hammond, Ivan Samson, Tom Gill, Margaret Barton, Elliott Mason, Joan Haythorne and Leueen MacGrath.
Young Mrs. Winthrop
On her birthday, Constance Winthrop and her husband Douglas are already drifting apart. After the death of their child, their separation deepens; the play follows their eventual reconciliation as their hearts overcome the breach.
Young Sinners
Young Sinners is a comedic play by Elmer Harris that first premiered at the Morosco Theatre in New York on November 28, 1929. The three act play was first revived at the New Yorker Theatre on April 20, 1931. It was then revived again at the Ambassador Theatre in New York on March 6, 1933. The cast changed during each revival, but Dorothy Appleby played Constance Sinclair in the original and the two revivals. The 1931 film Young Sinners is based on the play.
Young Wives' Tale
Young Wives' Tale is a 1949 comedy play by the British writer Ronald Jeans. It premiered at the Theatre Royal, Brighton before transferring to the Savoy Theatre in London's West End where it ran for 373 performances between 7 July 1949 and 27 May 1950. The original London cast included Naunton Wayne, Joan Greenwood, Derek Farr, Joan Haythorne and Margaret Scudamore.
Young Woodley
At an English public school, shy seventeen-year-old prefect Roger Woodley falls in love with Laura Simmons, the lonely wife of his housemaster. When they are discovered kissing, Simmons threatens to expel Roger; after a confrontation at school, Roger leaves with his father, who offers him a place in the family business, while Roger and Laura part affectionately.
Your Five Gallants
Five London rogues—a pickpocket, pimp, pawnbroker, cheat and whoremonger—join forces to court wealthy orphan Katherine. Fitzgrave infiltrates their circle and uses a masque to expose their crimes; he marries Katherine while the gallants marry the prostitutes who mirror them.
Your Obedient Servant
Clare, the second wife in a household, resents the family's happiness, bullies its French maid and behaves so autocratically that the children reject her. Elliott described the family drama as an allegory of totalitarianism, with Clare representing Nazi Germany.
Your Own Quiz
During a televised quiz final, Kizuna Honjo correctly answers before the question is read, then refuses the championship and disappears. His rival Reo Mishima joins another contestant to investigate, retracing the questions and uncovering memories of his own life.
Yours Forever, Marie-Lou
Two sisters revisit the family tragedy that shaped their lives, while their parents relive a bitter argument years earlier. The overlapping conversations expose the damage caused by poverty, repression, and frustrated hopes.
Youth at the Helm
Youth at the Helm (Helyet az ifjúságnak) is a Hungarian-language play by Paul Vulpius, the joint pen name of Ladislas Fodor and, which premiered in Budapest in 1933. The play was also staged in Vienna, Austria in 1933 under the title Hau-ruck using a German language translation of Fodor and Lakatos's play by Hans Adler who also adopted the pen name Paul Vulpius. Adler's German language translation was the source material for two different English language translations of the play: Youth At the Helm by Hubert Griffith (1896–1953), used frequently in the United Kingdom during the 1930s, and Help Yourself by John J. Coman for the work's Broadway production in 1936. The play has also been staged using the titles Jugend voran (Germany) and L'affare Kubinsky (Italy). The play served as the basis for the 1936 film Jack of All Trades starring Jack Hulbert.
You’ll Have Had Your Hole
In a disused recording studio, small-time criminals Docksey and Jinks hold Dex, a fellow crook, captive and subject him to torture over his role in a murder. Docksey also approaches Dex’s girlfriend Laney, and his effort to make Dex feel remorse develops into a volatile mix of revenge and unexpected attachment.
You’re Still Here
A new technology can predict the precise moment of a person’s death. When it is introduced into a hospice, a palliative care physician must confront its consequences for patients, medical practice and his own understanding of a life’s value.
Yugao
A travelling priest is drawn to the ruined villa where Yūgao died. A figure recounts her tragic love for Prince Genji; the figure later returns as Yūgao’s ghost, seeking sympathy and release from her attachment to the affair.
Yugpurush
The play traces the friendship between Jain philosopher Shrimad Rajchandra and Mahatma Gandhi, from their meeting in 1891 through their correspondence after Gandhi moved to South Africa. Rajchandra’s teachings of truth, ahimsa, and dharma shape Gandhi’s spiritual and political outlook.
Yukonstyle
Three young people share a home in Whitehorse through a difficult winter. As news of the Robert Pickton trial reaches them, their relationships and family histories reveal the violence and isolation surrounding their search for belonging.
Yulan Ji
A carp spirit takes the form of a woman resembling scholar Zhang Zhen's beloved Jin Mudan and seduces him. Guanyin, the Dragon King and judge Bao Zheng join forces to capture the spirit in Guanyin's fish basket.
Yö yli Euroopan
In Finland amid the political upheavals of 1933, communist organizer Jaakko Susi forms a cell tasked with disrupting the labor movement. A private moral conflict leads to betrayal, his arrest by state police and his death; law student Toivo stands for a patriotic ideal of national unity as war threatens.
Zack
Kind-hearted Zack Munning is dismissed by his calculating family, whose struggling business drives plans to exploit a wealthy visiting relative. Zack’s unexpected appeal disrupts their schemes.
Zangezi
The prophet Zangezi lives among animals, plants and gods, speaking words that human beings cannot understand. Khlebnikov's futurist poem-play unfolds across 20 planes and combines varied poetic forms and invented language.
Zapolya: A Christmas Tale
In this two-part verse drama set in Illyria, usurper Emerick imprisons Queen Zapolya and the chieftain Kiuprili; after escape and separation, Zapolya and her son Andreas are reunited, Emerick is defeated, and Kiuprili and his son Casimir reconcile.
Zara
Zara is a 1736 tragedy by the British writer Aaron Hill, based on the 1732 French play Zaïre by Voltaire. As in Voltaire's original, Hill's play, set during the Crusades, tells the story of Zara, a Christian slave. The original Drury Lane cast included Susannah Maria Cibber as Zara, William Milward as Lusignan, Theophilus Cibber as Nerestan, Edward Berry as Chatillon, Richard Cross as Melidor and Hannah Pritchard as Selima. The incidental music was composed by Thomas Arne.
Zastrozzi, The Master of Discipline
Zastrozzi pursues Verezzi, whom he blames for his mother's death, and plots to make the religious artist commit suicide and face eternal damnation. With Bernardo and Matilda, he drives the pursuit through swordplay and deception, while Verezzi's tutor Victor challenges his nihilism.
Zaza
Zaza, a prostitute who becomes a music-hall performer, is the mistress of a married man. In the original French play, they resume their relationship after her success.
Zaïre
Zaïre, a Christian captured as a child and raised in the Sultan of Jerusalem’s palace, loves Orosmane. On the eve of their wedding, her Christian father and brother learn her identity and arrange a secret baptism. Orosmane mistakes her meeting for an affair, kills her, then dies by suicide when he learns the truth.
Zeneral Macbeff
A Macbeth adaptation recast in Mauritian Creole and in relation to Mauritian politics.
Zenobia
Zenobia is a 1768 tragedy by the Irish writer Arthur Murphy. It is based on the life of Zenobia, ruler of the Palmyrene Empire in Syria and her defiance of Ancient Rome. The original Drury Lane cast included Ann Street Barry as Zenobia, Spranger Barry as Rhadamistus, Charles Holland as Teribarzus, Francis Aickin as Pharasmanes, William Havard as Megistus, John Hayman Packer as Zopiron and Richard Hurst as Tigranes.
Zero Hour
Zero Hour is a 2006 one-person play written and performed by playwright and actor Jim Brochu and directed by actress Piper Laurie. In a biographical reflection on Zero Mostel, Brochu portrays the Jewish actor and comedian giving a fictional interview with an unseen New York Times reporter shortly before Mostel's death in 1977. Brochu's Mostel recounts his life and career; he describes the impact of the Hollywood blacklist on himself and his friends, including his testimony before the House Un-American Activities Committee, as well as his success with A Funny Thing Happened on the Way to the Forum, Fiddler on the Roof and the original movie version of The Producers. It won the 2006 Ovation Award for "World Premiere Play." Brochu won the 2010 Drama Desk Award for Outstanding Solo Performance.
Zigger Zagger
Harry Philton, a school-leaver drawn to football hooliganism, weighs the violence and dead-end prospects around him against a stable future through an apprenticeship.
Zingis
Zingis is a 1768 tragedy by the British writer Alexander Dow. It is set during the reign of Genghis Khan. The original Drury Lane cast included Charles Holland as Timur, Francis Aickin as Zingis, John Hayman Packer as Aunac, Samuel Reddish as Zemouca, Thomas Jefferson as Cubla, John Palmer as Zena, Charles Bannister as Nevian, Richard Hurst as Sidasco and Elizabeth Younge as Ovisa.
Zone
In this three-act drama, a group of Québécois teenagers smuggles cigarettes into Canada to escape poverty and family hardship. When the police arrest them, interrogation and mutual suspicion turn the group against itself; leader Tarzan confesses to a border guard’s murder, escapes prison, and is shot after reuniting with Ciboulette.
Zooman and the Sign
After a 12-year-old Black girl is murdered in front of neighborhood witnesses, her family struggles to secure justice as the community refuses to identify the killer.
Zoot Suit
Based on the Sleepy Lagoon murder trial and Zoot Suit Riots, the play follows Henry Reyna and the 38th Street Gang as Chicano youths are convicted in a murder case, while Henry's brother Rudy is assaulted during the riots. Lawyers and activist-reporter Alice help win the gang's appeal, though the ending leaves several possible futures for Henry.
Zoraida
Scene 1: Zoraida, a female orphan at the court of Egypt, talks to her friend Zulima (daughter of Moralmin, the Governor of Cairo for Almaimon and who grew up with Zoraida) about her worries regarding her parents' past against the rule of Ottoman Emperor Selim the First. She is concealed by his adopted parents and fears that Almaimon will die. Zulima comforts her by reminding her of Almorad's affection to Zoraida as an adopted parent. Scene 2: Moralmin talks to Zoraida is eager to share his rosy expectations for Almaimon reclaiming Egypt. Zulima suggests to Zoraida to join the fight; however, Zoraida suggests for Zulima to pray to Allah to wish the soldiers good luck. Scene 3: Almaimon faces a tough fight and senses the defeat of his army. He worries about Zoraida. Scene 4: Moralmin, now a prisoner of Selim I, is questioned by Selim, and confesses his loyalty for Almaimon despite his capture. He curses the Selim. Scene 5: Osman seemingly shows his loyalty to Selim while secretly seeking vengeance. Scene 6: At the castle, despite Zulima's persuasions, Zoraida has a pessimistic view of the battle and tries to give up, but changes her mind after realizing she does not wish to become a captive. Scene 7: The situation escalates as the betrayal of Almaimon's troops exacerbates the battle on Almaimon's side. Scene 8: Motafar notifies the crew of the princess's escape as well as his support for their escape. Zoraida comes before Selim as a captive and is taken to his harem. Selim tries to steal her heart, which, unbeknownst to him, is what Osman intends to distract Sultan from noticing his plans. Meanwhile, Almaimon is saddened by Zoraida's capture. Almaimon receives a scroll about Osman, which would later help with his mission of liberating Egypt and freeing Zoraida. Almaimon meets Osman and tells him his risky plans: an attack while the guards sleep. Zoraida hears false testimony from Zulima that Almaimon is murdered. Zulima worries that her sire Moralmin is dead. Meanwhile, Selim feels betrayed by Osman for the rescue mission, saying he would be noble. However, Selim decides to trust Osman one more time to persuade Almaimon. Selim returns Zoraida to Almaimon. Almaimon thanks God for their reunion.
Zorinski
Zorinski, also known as Casimir, King of Poland, is a 1795 historical tragedy in three acts by the British playwright Thomas Morton. It enjoyed considerable success. The play's plot was "founded on the adventures of Stanislaus." Shortly after the play's 1795 premiere, an anonymous pamphlet titled Mr. Morton's "Zorinski" and Brooke's "Gustavus Vasa" Compared alleged that Morton's play was essentially plagiarized from Henry Brooke's 1738 Gustavus Vasa — Morton's characters Rodomosko, Rosolia, and Zorinski were respectively Brooke's Cristiern, Cristina, and Gustavus; Morton's salt-mines were Brooke's copper-mines, and so on.
Zorro in Hell
A Latino satire uses the legend of Zorro to examine California’s history and identity, immigration, and homeland security.
Zoyka's Apartment
In Soviet New Economic Policy-era Moscow, widow Zoya disguises an apartment brothel as a fashion studio to earn money for an escape to France, exploiting the era's new commercial freedoms.
[BLANK]
A modular play of 100 unrelated scenes, from which a director selects, exploring what happens when and after a woman goes to prison. The scenes grew from Birch's work with women affected by the criminal justice system.
[boxhead]
Two figures wearing boxes over their heads encounter versions of themselves in a comic struggle with identity. Physical invention and absurd conversation unsettle the distinction between a person and their double.
a Hint to Husbands
A Hint to Husbands is an 1806 comedy play by the British dramatist Richard Cumberland which was first performed at Covent Garden Theatre. The prologue was written by James Bland Burgess. The play was not a success and lasted for only five nights. The original cast included Charles Kemble as Lord Transit, Henry Erskine Johnston as Sir Charles Le Brun, Alexander Pope as Heartright, John Fawcett as Fairford, John Brunton as George Trever, Charles Farley as Pliant, John Emery as Codicil, William Blanchard as Dogherty and Julia Glover as Lady Le Brun.
a profoundly affectionate, passionate devotion to someone (-noun)
In three parts, three couples argue about their relationships: one pair accuses each other of neglect, another of deliberately undermining one another, while the daughter of the first couple and the man from the second speak more civilly about their relationship.
boom
Graduate students Jules, a marine biologist, and Jo, a journalist, meet in his underground campus laboratory after she answers an online personal ad promising sex that could change the world. Jules believes patterns he found in fish behavior foretell the end of most life and has prepared the lab as a refuge from disaster. A third character, Barbara, guides the audience through a parallel story of civilization’s end thousands of years earlier.
e-DENTITY
People meet and reinvent themselves through electronic communication, where appearance and identity can be changed with a keystroke. Spoken text, movement, music, and interactive projections explore the distance between digital connection and physical intimacy.
e-baby
Catherine, an Australian lawyer in London who has endured years of IVF, turns to surrogacy as her last chance for a child. Nellie, a Catholic mother in Boston, carries the pregnancy. Their contract, different circumstances and conflicting expectations strain their relationship, especially as the question of selective reduction arises.
for colored girls who have considered suicide / when the rainbow is enuf
Structurally, for colored girls is a series of 20-22 poems, depending on whether "my love is too" and "positive" are included in the list, collectively called a choreopoem. Shange's poetry expresses many struggles and obstacles that African-American women may face throughout their lives and is a representation of sisterhood and coming of age as an African-American woman. The poems are choreographed to music that weaves together interconnected stories. The choreopoem is performed by a cast of seven nameless women only identified by the colors they are assigned. They are the lady in red, lady in orange, lady in yellow, lady in green, lady in blue, lady in brown, and lady in purple. Subjects from rape, abandonment, abortion, and domestic violence are tackled. All she hears are screams and promises. Each woman states where she is from, by stating they are outside their respective cities. The lady in brown proclaims that this piece is all for "colored girls who have considered suicide / but moved to the ends of their own rainbows". The women then begin to sing children's nursery rhymes, "mama's little baby likes shortnin, shortnin". She repeats "te amo mas que," and the other women join her, softly chanting. "no assistance" – Lady in Red The lady in red addresses an ambiguous "you" throughout the monologue. She has loved this "you" strongly and passionately "for 8 months, 2 wks, & a day" without any encouragement. The lady in orange then claims that she is a poet "who writes in english / come to share the worlds witchu". "latent rapists'" – Ladies in Red, Blue, Purple The lady in blue talks about how hard it is to press charges against a friend. The other women begin to ponder and ask questions. They say that maybe it was a misunderstanding, or the woman caused it, and they ask her if she was drinking. The lady in red states that society only believes someone is a rapist if they are a perverted stranger. The women talk about male friends of theirs who have nice smiles and buy them dinner but end up raping women. The women all share the experience of having been violated by a man they knew while being on the lookout for "the stranger we always thot it wd be". The lady in red states that the "nature of rape has changed." The lights change, the women react to an imaginary slap. "abortion cycle #1" – Lady in Blue The lady in blue sets the scene with tubes, tables, white washed windows, and her legs spread open. She could not bear to have people looking at her while she got an abortion so she is all alone. "sechita" – Lady in Purple with Lady in Green The lady in purple describes Sechita's life in the bayou, while lady in green dances out Sechita's life. She is dressed up for the Creole carnival celebration. She embodies the spirit of her namesake, Sechita, the Egyptian goddess of creativity, love, beauty and filth from the 2nd millennium. "toussaint" – Lady in Brown The lady in brown describes falling in love with Toussaint L'Ouverture, finding Toussaint in the library near the train tracks. The lady in brown talks about entering a contest to see which "colored child" could read 15 books in three weeks and the lady in brown won, but she was disqualified because she went into the adult reading room and read about Toussaint instead of reading the children's books. The lady in brown became obsessed with Toussaint despite the fact that he was dead. He was her "secret lover at age 8". The lady in brown wanted to run away to go to Haiti with Toussaint. On her journey the lady in brown meets a young boy whose name is Toussaint Jones. The lady in brown feels likes she has met her real-life Toussaint and she leaves with him. "one" – Lady in Red The lady in red enters begins by describing a beautiful woman wearing orange butterflies, silk roses, and aqua sequins. This woman is deliberate in all her actions. Although she walked slowly to allow men to gaze at her, she never returned their interest with a smile or acknowledging their catcalls. She was "hot / a deliberate coquette". Her goal was to be unforgettable. She takes "those especially schemin/ tactful suitors" to go home with her. In the morning, she becomes her ordinary self by washing off the glitter and the grime from the night before. She asks her lovers to leave. The men would leave in a hurry, and then she cleaned up and put her roses away. She would write about her exploits in her diary and then, cry herself to sleep. "i usedta to live in the world" – Lady in Blue The lady in blue begins her monologue by explaining that she used to live in the world but now only lives in Harlem, and her universe is only six blocks. She used to walk all over the world and now her world is small and dirty. The lady in blue says that when she used to live in the world where she was nice and sweet but now, now she cannot bring herself to be nice to anyone in this "six blocks of cruelty / piled up on itself". "pyramid" – Lady in Purple The lady in purple joins the ladies in blue, yellow, and orange. She starts by describing them as three friends who shared every aspect of their lives. They remember a time when they all were attracted to the same man, but he only could choose one of them. The one who he chose loved him, but worried if her friends could hold out. One day she found the rose she left on his pillow on her friend's desk. The friend said she did not know what was going on, because the man said he was free. The three friends did not want to hurt one another but they know how wonderful this man could be. The friends hug and cry and go to confront the man, whom they find with another woman. The women cry and comfort each other like sisters. "no more love poems #1" – Lady in Orange The lady in orange discusses a relationship that left her heartbroken. She says that ever since she realized that someone would call a "colored girl an evil woman a bitch or a nag" (56) she has tried not to be that person. She tries to not only give joy, but to receive it as well. She finds herself in what she believes to be a real and honest relationship. Yet, the guy keeps going back to his ex-lover. The lady in orange tried to move on by finding another lover, but she was not satisfied. She tried to avoid sadness, but she found herself heartbroken by this man. She could not stand being "sorry & colored at the same time / it's so redundant in the modern world". "no more love poems #2" – Lady in Purple The lady in purple speaks about her relationship to dance and men. She deliberately chooses to dance with men who do not speak English, pops pills, and uses dance as an escape from reality. Then she meets a man who she gave everything: dance, fear, hope and scars. She admits she was ready to die, but now is ready to be herself and accept love. She pleads, "lemme love you just like i am / a colored girl/ i'm finally bein real". "no more love poems #3" – Lady in Blue The lady in blue proclaims that they all deal with too much emotion and that it might be easier to be white. That way they could make everything "dry & abstract wit no rhythm & no / reelin for sheer sensual pleasure". "my love is too" – Ladies in Yellow, Brown, Purple, Blue, Orange, Red, Green The other women come and each repeats, "my love is too...delicate/beautiful/sanctified/magic/saturday nite/complicated/music to have thrown back in my face." The ladies begin dancing and chanting together. "somebody almost walked off wid alla my stuff" – Lady in Green The lady in green says that someone has taken all of her "stuff". She feels that she is the only one that knows and can appreciate the value of her stuff. She describes her stuff as the way she sits with her legs open sometimes, her chewed up fingernails, her rhythm, her voice, her talk, her "delicate leg and whimsical kiss". The person who stole her stuff is a man. She made too much room for this man who has run off with her stuff, especially because he does not even know that he has it. By the end of the monologue she demands her stuff back from this man. "sorry" – Ladies in Red, Orange, Yellow, Green, Blue, Purple The ladies start talking about all the apologies they have received from men. Some examples include: he is sorry because he does not know how she got your number, sorry because he was high, sorry because he is only human, and sorry because he thought she could handle it. The lady in blue then declares that she does not need any more apologies. She goes on to say that men should keep their apologies for themselves, because she does not need them to soothe her soul and she cannot use them. Rather than accepting apologies, she is going to do whatever she wants: yell, scream, and break things. And she will not apologize for any of it. "positive" – Ladies in Red, Yellow, Purple, Brown Lady in yellow, purple, brown, red participate in reciting the next poem about contracting HIV/AIDS; they share the lines and all speak to one woman's experience. The ladies argue about suspicions of cheating in the relationship. The lady in yellow tells her friends how happy she is in her relationship, and her friend tells her they have seen her lover outside the gay bars. The lady in yellow protests, but her friend tells her to get tested. The lady in yellow goes to get tested to put the whole issue to bed. Two weeks later, the doctor calls the lady in yellow with her patient number (#7QYG9) to inform her that she is HIV positive. The lady in yellow confronts her lover who furiously tells her he is not gay and accuses her of cheating on him. She tells him to get tested but he gets angrier and violent. He throws her to the ground and when she wakes up he is gone and she says, "& i was positive / & not positive at all". "a nite with beau willie brown" – Lady in Red, Orange The lady in orange begins the story of Willie Brown by saying there is no air. Beau Willie is all tied up in the sheets, wishing a friend would come over and bring him some blow or any other kind of drug.
hang
Three unnamed people meet in one room: Two oversee a judicial process while Three, a Black woman, decides what punishment a man who committed a crime against her and her family will face. She must also read a letter written by the perpetrator.
seven methods of killing kylie jenner
Cleo’s response to a celebrity headline sparks an online argument that spills into her friendship with Kara. Their exchanges confront appropriation, colourism, sexuality, and the ownership of Black women’s bodies.
shaniqua in abstraction
A solo performer moves through shifting voices and identities, questioning the expectations placed on a Black woman. Humour and cultural critique unsettle fixed ideas about who she is allowed to be.
spell #7
In a bar, a group of Black actors, musicians and performers share dreamlike vignettes and monologues about the difficulties they face as artists. The magician Lou frames the piece, encouraging them to accept and celebrate their Black identities.
uMabatha
Welcome Msomi’s adaptation of Macbeth transposes the story to the early nineteenth-century Zulu Kingdom, where Mabatha overthrows King Dangane.
zahgidiwin/love
A dark comedy uses satire to examine Canada’s colonial and religious history and the residential school system.
¡Ay, Carmela!
Travelling performers Carmela and Paulino blunder into the wrong place at the wrong time during the opening months of the Spanish Civil War, in an allegorical drama about their dangerous encounter.
Ágis tragédiája
In Sparta, Prince Agis and his ally Kleombrotés lead impoverished citizens against debt and unequal wealth, but the king and his advisers turn against the reformers. Agis refuses submission that would abandon the people and is murdered by a treacherous counselor.
Électre
After Agamemnon's murder by Clytemnestra and Aegisthus, Electra and her returned brother Orestes seek the truth and revenge. Giraudoux's tragicomic rewriting of the myth ends with the siblings destroyed by the curse of the house of Atreus and the truth's devastating consequences for Argos.
Ériphyle
Queen Eriphyle is married to commander Amphiaraos but maintains a relationship with his enemy Hermogide, who plots against him. Alcméon, raised as Hermogide's commander, falls for the queen and learns that Amphiaraos is his father; he accidentally kills his mother while fighting Hermogide.
Āgamaḍambara
Sankarshana, a young orthodox Vedic scholar, begins a campaign against Buddhist, Jain, and other heterodox communities. He eventually recognizes that the king's political interests do not support inquisitorial zeal, and the play ends in a festival of tolerance and compromise.
České nebe
After a lecture featuring Czech historical subjects, the stage play presents the Czech Heaven Commission during World War I. Led by Saint Václav, its members include Jan Amos Komenský, Forefather Czech, Jan Hus, Karel Havlíček Borovský, Babička and other figures who debate the country’s legacy in a comic dramatic testament.
Škofja Loka Passion Play
A penitential Passion procession in 869 verses and 13 tableaux, dramatizing biblical stories, especially events from the life of Jesus, in the old Škofja Loka dialect.
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