Showing 51 - 60 of 3337
No. of results per page
First  |  Page  1  2  3  4  5  6  7  8  9  10  11  ...  |   Last
Title Genre Cast Size Actions / Compare
after the quake Drama 5 (3m, 2f) View Details Compare
Short
Synopsis

In this adaptation of two of Haruki Murakami's brilliant short stories, Tony Award–winning director Frank Galati has fashioned an enchanting and deeply moving play that follows the lives of characters struggling with the aftermath of the 1995 earthquake in Kobe, Japan, that nearly destroyed the city. Rich in dreamlike imagery and haunting in its evocation of survival in the wake of terrible disaster, after the quake makes masterful use of storytelling to reveal and explore our primal fears.

"Both resonant and evocative of the fissions of our age." —Variety. "A cleverly woven one-act meditation on human powerlessness…timeless and universal." —Talkin' Broadway. "A mesmerizing 100-minute theater piece…filled with plenty of humor and whimsy." —Chicago Sun-Times. "Galati—who marries theater and storytelling in the form of lively, descriptive narration—expertly integrates both tales." —Daily Herald. "The outstanding achievement here is Galati's adaptation: It manages to retain Murakami's lyricism…while bringing it to mesmerizing life for the stage." —Windy City Times. 

After The Rehearsal Drama 5 (2m, 3f) View Details Compare
Short
Synopsis

The simple setting is an old stage theatre following an afternoon rehearsal. The actors have left and the aging director, Henrik Vogler, sits alone surrounded by old props from productions of Ibsen and Strindberg.  Anna Egerman, cast as Agnes in Vogler’s current production of Strindberg’s “Dream Play” enters, surprising him.  Anna’s mother Rakel was an attractive actress who left the theatre to raise a family. Rakel and Vogler were occasional lovers.  Anna’s mother is dead and her father gone.  Vogler expresses his views on actors, artistic morality and scenography, echoes of Bergman’s statements over the years.  He also talks about the thin line between fantasy and reality, past and present.

In a flashback Rakel enters searching for her shoes. She is 46, drunk and voluptuous. At the time Anna was 12. Vogler has asked Rakel to play a small part in a new production.  The alcoholic Rakel is in and out of institutions. Their conversation is bitter, ironic and tense. Rakel leaves and Vogler promises to visit her.  We return to the present. Anna tells Vogler she is pregnant, later that she has had an abortion and will divorce her husband.  Vogler contrives a fantasy love affair with Anna and she falls into her role. The make-believe affair ends with them parting as friends.  Vogler stays behind, left alone.  The church bells, which have been chiming, fall silent or perhaps it is just that the Director can no longer hear them.

After the Revolution Drama 8 (4m, 4f) View Details Compare
Short
Synopsis

The brilliant, promising Emma Joseph proudly carries the torch of her family's Marxist tradition, devoting her life to the memory of her blacklisted grandfather. But when history reveals a shocking truth about the man himself, the entire family is forced to confront questions of honesty and allegiance they thought had been resolved. AFTER THE REVOLUTION is a bold and moving portrait of an American family, thrown into an intergenerational tailspin, forced to reconcile a thorny and delicate legacy.

"AFTER THE REVOLUTION is a shrewd, ironic meditation on what we do with history, how we appropriate it for our own psychological needs. Among the play's many pleasures—a firm grasp of historical paradox, sharp dialogue—the most satisfying is the way the characters struggle through their differences to listen to one another. The ability to listen is, perhaps, the definition of love. Herzog's accomplishment is to trap this rare sense of connection." —The New Yorker. "…crackles with intelligence and is laced with welcome wit." —BackStage. "…smart, engrossing…Ms. Herzog elucidates the personal history of three generations of Josephs with impressive ease, in scenes that crackle with lively, natural dialogue that illuminates the underlying strains in this unusual clan, always happier to argue the legacies of Stalin and Castro than to explore the pain they cause one another." —NY Times. "…a refreshing refusal to grant the audience easy answers." —NY Press.   

After-Play Comedy/Satire; Drama 7 (4m, 3f) View Details Compare
Short
Synopsis

Set in the newest "in" Manhattan restaurant, the play opens with an ethereal waiter preparing for the arrival of a party of four. Just as the two couples are about to enter, it magically begins to snow making the night perfect for a cozy after-theater supper. The two middle-aged couples, Marty and Terry, and Renee and Phil, old friends reuniting after three years, have just seen a new Broadway play. Shedding the formality of the theater, the four friends settle into the comfort of the restaurant, order cocktails and begin to reacquaint themselves. The years and distance separating them have changed them more than they thought. Discussing the play and playing catch-up leads to little arguments and major differences of opinion. More drinks are ordered and apologies ease the way into dinner over which are discussed sex, the wearing of fur, matters of health and problems with their children. Time and distance aside, these couples know each other very well and will always be close friends. A third couple, Emily and Matt, acquaintances of Marty and Terry, stop by the table to say hello. After introductions, they are convinced to stay for a nightcap even though Emily has already had too much to drink. The nightcap sends her over the edge, and when the recent tragic death of her son is brought up, the uncomfortable situation is made worse. Emily makes a drunken, public spectacle of herself, forcing Matt to all but carry her out of the restaurant. The ugliness of the moment is not lost on Marty, Terry, Renee and Phil, all of whom are deeply effected. Having shared painful secrets and made new discoveries about one another, the four put their disagreements and arguments behind them and forge ahead in friendship until next time.

Perhaps best known as half of the comedy team, Stiller and Meara, the highly respected actress Anne Meara's playwriting debut transferred from Manhattan Theatre Club to a successful Off-Broadway run. "…Meara…has written an astonishingly strong first play…Think Edward Albee and maybe Shecky Greene filtered through the sensibility of an observant woman on her way to psychological perfect pitch…No joke. Meara is a find." —NY Newsday. "…there is a solidity to Meara's writing that a lot of theatre writing lacks. That makes this an unusually entertaining evening." —NY Daily News.     

Aftermath Drama 9 (6m, 3f) View Details Compare
Short
Synopsis

March 20, 2003. A date that the ordinary people of Iraq will never forget. A day that changed their lives forever: the day the Americans arrived in their country. Jessica Blank and Erik Jensen travelled to Jordan in June 2008 to find out firsthand what happened to the Iraqi civilians as a result of the events that began on that fateful day. They interviewed some 35 people—a cross-section of lives interrupted—who fled the chaos and violence that befell Iraqi society for the relative safety of Jordan. Following the visit to Amman, Jessica and Erik crafted their conversations with the Iraqis and have turned them into an unforgettable play.

"The exiles whose tales of displacement are related here may be embodied by actors, but you often feel that it's the people they are portraying who are demanding the courtesy of your attention. How can you turn away? This aura of fraught intimacy has been achieved with subtle ingenuity by Mr. Jensen and Ms. Blank…AFTERMATH is shaped to make us feel as if we were the unseen interviewers, to whom coffee or tea is offered by our guarded but hospitable subjects." —NY Times. "The arithmetic in AFTERMATH mostly consists of subtractions and divisions…The nine subjects of the play—including a translator, a pharmacist, an imam and a theater director—are stuck in a postwar attention-span lapse, forgotten but not gone." —Time Out NY. "In putting a human face on the thousands of displaced civilians who lost their homes, their families and their history in a catastrophe not of their making, this powerful piece of agitprop theater challenges us all." —Variety. "…graceful and gripping work." —NY Daily News.

Ages Of The Moon Comedy/Satire 2 (2m, 0f) View Details Compare
Short
Synopsis

 A gruffly poignant and darkly funny play, Ages of the Moon finds old friends Byron and Ames re-united by mutual desperation. Ames' marriage has broken down and he rings Byron in desperation. Byron travels for three days to see Ames, and over bourbon on ice, they sit, reflect and bicker until fifty years of love, friendship and rivalry are put to the test at the barrel of a gun.  "A shotgun blast of brilliance" --Irish Mail on Sunday.  "An understated triumph of a play, funny and moving" --The Sunday Times.   

Agony & The Agony, The Comedy/Satire 6 (4m, 2f) View Details Compare
Short
Synopsis

Richard Aglow is a failure. A once-promising playwright, he finds himself a virtual shut-in with only rejection letters to amuse himself. Until today. He's started writing again! And as luck would have it, inspiration has hit on the very day his wife, Lela, an aspiring actress who married Richard despite his homosexuality, has met one of New York's leading producers. This is Richard's chance, a golden opportunity to get back in the game. Of course, he'll have to overlook the fact that the producer about to arrive is the man who wrote that last rejection, the one that broke Richard's spirit. The arrival of Lela's lover, his pregnant girlfriend and the ghost of one of the twentieth century's most notorious killers complicate matters further. THE AGONY & THE AGONY is the story of one evening when secrets are revealed, dreams are realized, and hopes are dashed. It captures the loneliness and real desperation of what it means to have "a life in the theater."

"THE AGONY & THE AGONY is proof, once and for all, that hard work, grit and determination almost compensate for a total lack of talent." —Jill Silver (the playwright's mother).   

Agreement, The Drama 2 (1m, 1f) View Details Compare
Short
Synopsis

Sal, a writer, and Jenny, an aspiring actress, dream and work for the day when their talents will be recognized and rewarded. Sharing a cold water flat, they have devised an agreement by which their love and their careers remain separate. But then, one day, Jenny comes home during Sal's writing time, and he senses that a change has come over her—a change which threatens to challenge and disrupt their carefully arranged understanding. She seems strangely elated—yet quarrelsome too—as she announces that she is quitting her acting class. With growing apprehension Sal draws out the reason for her behavior: she is pregnant, and wants them to marry. At first it appears that he will do as she wishes, but gradually he makes his feelings all too clear to her. He cannot accept the life that marriage and parenthood would entail. It would mean the destruction of the comfortable cocoon he has escaped into, and the loss is one that Sal cannot face. But for Jenny life is something that must go on, and she will find the courage to move with it—alone if this must be. Sadly she packs her few things and leaves, while Sal turns to the solace of his typewriter and to the hollow comfort of a life that he can only write about but never truly know.

Concerned with the special "world" an artist builds to nurture and protect his creativity, this powerful and illuminating play probes deeply into the agonizing dilemma which must be dealt with when this hard won freedom is jeopardized.

Ah, Eurydice! Fantasy/Adventure 3 (2m, 1f) View Details Compare
Short
Synopsis

The place is the Underworld, and the first characters we meet are Pluto, who is snoozing in a beach chair before the gates of his palace, and Orpheus, who has come in search of his lost bride, Eurydice. Orpheus, who happens to be a bit paunchy, and from Yonkers, has been told that Pluto will be able to restore Eurydice to him, despite the fact that she choked on a chicken bone at their wedding reception—before they could even fly off on their Bermuda honeymoon. Pluto is glad to oblige, but makes the proviso that Orpheus must not look back at Eurydice as he leads her out of the Underworld. The condition is accepted, but Eurydice, a bleached blonde who is not amused by the situation, presses Orpheus so urgently to give her a kiss that at last he does—with the results foretold in legend. In the end Pluto can only suggest that Orpheus find himself another bride—after which he delivers an hilarious accounting of what really happened to Orpheus after his misadventures in the nether regions.

Produced Off-Off-Broadway, and also selected by Stanley Richards for his "Best Short Plays" series, this imaginative and very funny retelling of the Orpheus/Eurydice legend places modern characters in a classic setting, to great theatrical effect. Especially recommended for play contest and school use.   

Air Raid Drama 22 (11m, 11f) View Details Compare
Short
Synopsis

In a small town people are busy and happy at work and play. The women chatter and gossip and sing; the lovers murmur; the children shout in play. But they are warned of a possible attack. The sound of an enemy plane cuts through the air. Planes circle over the town, nearer and nearer. As the women rush into the square, the attack is launched. The climax is tremendously moving.

The poet has combined lyric poetry, superb drama, and a strange, moving quality of terseness into an original and powerful preachment on modern warfare.

Showing 51 - 60 of 3337
No. of results per page
First  |  Page  1  2  3  4  5  6  7  8  9  10  11  ...  |   Last
Compare

Compare (up to 3 items)

Start
Comparison