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"Me, Candido!" Comedy/Satire; Drama 17 (9m, 8f) View Details Compare
Short
Synopsis

"ME, CANDIDO!" is the defiant battlecry of a homeless eleven-year-old shoeshine boy, who is unofficially adopted by Papa Gomez, a poor Puerto Rican with a large family recently arrived in New York; by truculent old Mr. Ramirez, proprietor of a restaurant locally known as "The Garbage Pail"; by Mike McGinty, an eloquent and thirsty ex-longshoreman; and by Yetta Rosenbloom, a lonely old woman whose family has drifted away from her. But the simple, kindly act of taking a boy in from the street comes up against the red tape of officialdom. Candido can't work in "The Garbage Pail"; he must goto school; he can't go to school till he has been legally adopted. They need a lawyer—for free; money is for rice and beans. But Candido is a boy, not a case history, and his fathers are determined to keep him out of an institution. The law does not concern itself with love. But the neighbors do, and the struggle spreads to the entire neighborhood. Candido becomes a cause celebre. Amid humorous entanglements, the situation is at last resolved in a poignant and moving scene in the courtroom.

"It is an absorbing drama, solid, vigorous, fresh. Mr. Anderson has a sense of humor as well as a sense of comedy." —NY Times. A tribute to love and brotherhood in a troubled world, the play is particularly timely. 

'Dentity Crisis Comedy/Satire 5 (2m, 3f) View Details Compare
Short
Synopsis

Recovering from a nervous breakdown, Jane is nursed and nagged by her relentlessly cheerful mother, and confused by her oversexed brother—who keeps changing into her father, her grandfather and her mother's French lover. Eventually all (including Jane's psychiatrist, who undergoes a sex change operation and swaps places with his wife) change characters again and become Jane herself—leaving her with no identity at all and pointing up the near impossibility of self-identification in our uncertain times.

First presented by the Yale Repertory Theater. An inventive, antic and mercilessly revealing black comedy, which deals harshly with the pretensions of modern psychiatry. "…irreverent mixture of parody, satire, theater jokes, and nonsense." —New Haven Register. "Durang's writing is short and sharp moments of wit and hilarity." —Variety.     

'Night, Mother Drama 2 (0m, 2f) View Details Compare
Short
Synopsis

The scene is the living room/kitchen of a small house on an isolated country road, which is shared by Jessie and her mother. Jessie's father is dead; her loveless marriage ended in divorce; her absent son is a petty thief and ne'er-do-well; her last job didn't work out and, in general, her life is stale and unprofitable. As the play begins Jessie asks for her father's service revolver and calmly announces that she intends to kill herself. At first her mother refuses to take her seriously, but as Jessie sets about tidying the house and making lists of things to be looked after, her sense of desperate helplessness begins to build. In the end, with the inexorability of genuine tragedy, she can only stand by, stunned and unbelieving, as Jessie quietly closes and locks her bedroom door and ends her profound unhappiness in one fatal, stunning and deeply disturbing moment—a moment never to be forgotten by those who have witnessed, and come to understand, her plight.

Winner of the Pulitzer Prize and the Susan Smith Blackburn Prize. This eloquent, enthralling and ultimately shattering play explores the final hour in the life of a young woman who has decided that life is no longer worth living.

"…honest, uncompromising, lucid, penetrating, well-written, dramatic, and…unmanipulatively moving…" —NY Magazine.

"It is sparse and concise, introspective and penetrating, powerful and uncompromising, intense and intelligent, warm and theatrical. It is THE American tragedy." —New England Entertainment Digest.

"Something I hadn't seen in a long time happened at 'NIGHT, MOTHER: The audience still sat applauding after the house lights came up, as if waiting for the cast to come round and join them." —Village Voice.

"…a shattering evening…" —NY Times.

1-900-Desperate 4 (1m, 3f) View Details Compare
Short
Synopsis

1-900-DESPERATE. Gretchen, nagged by her mother about her empty love life, calls a romance talk line and finds only other women and one young man named Scuzzy. When a five-year-old child dials by mistake, Gretchen finds his innocent babbling preferable to all the adults. In volume entitled NAOMI IN THE LIVING ROOM AND OTHER SHORT PLAYS.

     

100 Saints You Should Know Drama 5 (2m, 3f) View Details Compare
Short
Synopsis

Theresa is estranged from her family and working as a cleaning woman when she finds herself surprised by the unexpected desire to learn how to pray. Matthew, the priest whose rectory she cleans, is stunned and heartbroken by the realization that he no longer knows how to talk to God. When he disappears one day, Theresa feels compelled to track him down, and her search changes both of their lives.

"One of the ten best plays of 2007." —Entertainment Weekly. "Fodor's play glows with the sense that the keenest evidence of the search for God is in the homiest details." —NY Times. "This is a play you should know…It's a beauty." —NY Newsday. "Riveting…Poignant." —Bloomberg. "Kate Fodor's achingly truthful drama discerned the faint outlines of hope in a universe of lost connections." —Time Out NY.   

1918 Drama 13 (6m, 7f) View Details Compare
Short
Synopsis

Having been exempted from military service in World War I, Horace Robedeaux is back home in Harrison, Texas. He and his wife, Elizabeth, along with their infant daughter, are now settled in a new house built for them by Elizabeth's father, Mr. Vaughn. While their fortunes have improved, the nation reels from a spreading flu epidemic that soon reaches Harrison and infects Mr. Vaughn and Horace. During Horace's illness his daughter also contracts the flu and dies bringing to the young parents a sadness that even the armistice can do little to allay. In time Elizabeth becomes pregnant again, and the play ends with brightening prospects for all: The nation is finally at peace; Horace and Elizabeth are blessed with a healthy baby boy; and even Elizabeth's wayward younger brother, who had been of deep concern for Mr. Vaughn, shows signs of finally coming to terms with the responsibilities of adulthood.

Another component of the nine-play cycle entitled "The Orphan's Home." Produced both as a play and as a major motion picture, 1918 expands still further the playwright's close examination of the saga of the Robedaux family of Harrison, Texas, and, in particular, the fate of young Horace Robedaux and his wife, Elizabeth.     

2 Drama 11 (9m, 2f) View Details Compare
Short
Synopsis

April, 1945. The Nuremberg War Crimes Trials against the leaders of Nazi Germany are about to begin. Hermann Goering, in the place of Adolf Hitler, leads the accused and with his German counsel, prepares his defense. Drug free and healthy from a spartan imprisonment, Goering is once again the formidable man who more than any other made Hitler Chancellor of Germany and built the engines of the Third Reich. He defies the Tribunal with wit and ferocity, refuses to blame Hitler for his actions, denies the right of any conqueror to fairly prosecute the conquered, and foretells a disturbing future for crimes of war. As the horrors of what he is responsible for come to light, he demonically refuses to accept them as anything but the natural consequences of human conflict, and after manipulating his own suicidal escape from hanging, asks the audience, "What do you think men are?"

An exploration of the historical events surrounding Hermann Goering and the Nuremberg Trials in 1945, which offers to help us understand how we allow and view the events of today. "2 is theater as it should be." —Advocate. "What is strongest about the play…is Mr. Linney's perspective on history and its lessons…he has done substantial research and then with an artist's eye analyzed the reality behind the myth." —NY Times. "2…is an imaginative creation in documentary style of a character in the grip of the totalitarian mind-set…Romulus Linney's revisionist history emerged as the leading contender for international attention." —Philadelphia Inquirer. 

24 Hours AM Comedy/Satire; Drama (0m, 0f) View Details Compare
Short
Synopsis

This first half of 24 HOURS consists of twelve short plays covering the hours of one A.M. to twelve noon. Ranging widely in mood and style, from zany humor to touching sentiment to near tragedy, the plays cover the gamut of human emotions as well as the times of the day. Neatly dovetailed, the program moves along with exceptional swiftness and in covering so many facets of the human condition, provides an unique theatrical experience which, without question, offers something for everyone.

The first half of an integrated program of twenty-four short plays. Conceived by playwright Oliver Hailey as a project for the writers workshop which he established in Los Angeles, 24 HOURS (AM & PM) developed from a request that each workshop member write a short five to ten-minute play dealing with events at a particular hour of the day or night. The result was a program of great variety and wide-ranging imagination, which went on to critical and popular success in its production by the Back Alley Theatre. "…it's thrilling to see that high quality entertainment can be produced in concentrated form." —LA Herald Examiner. "The variety displayed here is tremendous. From birth to death and everything in between, these writers have it covered." —Data-Boy Magazine. "What is encouraging is the refreshing and seemingly unlimited inventiveness displayed." —LA Times.   

24 Hours PM Comedy/Satire; Drama (0m, 0f) View Details Compare
Short
Synopsis

In this second portion of 24 HOURS, the plays deal with events taking place during the hours of one P.M. to twelve midnight. Again the range of subjects and people represented is as broad and diverse as the imaginations of the writers involved. Somehow, however, life seems brighter when the "wee hours" have been left behind, and the result is a predominance of humor, much of it offbeat and truly hilarious, although a balance of serious and poignant moments is also provided to leaven the mixture. Again the final result is a unified and yet richly varied program, as absorbing and entertaining as it is uniquely original.

The second half of an integrated program of twenty-four short plays. Here, in the companion piece to 24 HOURS AM, the twelve component plays cover the period of midday to midnight with, again, an amazingly rich and varied mosaic of events and viewpoints represented. "…the plays not only follow the sun, they follow a winding path of introspection with approaches to the human condition as varied as the visions of the twenty-four playwrights." —Drama-Logue. "…not only highly successful in terms of showcasing diverse styles, moods and playwrights, but highly effective as an organic event." —Hollywood Reporter. "…thoroughly engaging, and skillfully constructed." —LA Herald Examiner.  

26 Miles Drama 4 (2m, 2f) View Details Compare
Short
Synopsis

The custody battle left them estranged for eight years. The road trip destination is two thousand miles across the country. The mother's skin is brown, the teenage daughter's, white. So what if reality's nipping at their heels? This reunited pair runs fast and furious from the secrets in their lives, hunting valuable antiques, chasing arctic explorers, and getting lost in Wyoming's wilderness.

“Charming, spunky, and ultimately heart-rending…The car trip from Paoli, PA, to Yellowstone Park is transforming and restorative." —NY Times. "Irresistible family drama…The play's greatest triumph is Beatriz…Frantic, foolish and unapologetically direct, Beatriz is one of the most original and refreshing matriarchs to come to any stage in a long, long time." —Denver Post.     

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