Bøger udgivet af BROADWAY PLAY PUB INC (NY)

Eric Bentley's adaptation of Arthur Schnitzler's classic LA RONDE. "This seems to be Arthur Schnitzler's year in the English-speaking world. In THE BLUE ROOM, we saw all of Nicole Kidman ... in a daring adaptation of one of his most dazzling works for the stage, REIGEN (LA RONDE, ROUND ONE). Ten couples pair up for the ultimate pleasure. One of each continuing with a different partner until in the last scene the prostitute, who has appeared in the first sketch, appears once more." -Peter Gay, The New York Times Book Review "The original play, REIGEN, was kept from the general public by Schnitzler. First, he printed it only privately. Second ... he withheld it from production. In 1920-21 he did allow it to be performed but when the Vienna production resulted in anti-semitic outbursts against the author, he withdrew it once again. He died in 1931 but when I translated REIGEN in the fifties, his son and heir Heinrich still wanted the play withheld, to protect his father's good name and avoid the ugly protests against the show that he thought would inevitably accrue. However, the play was not protected by U S copyright, and I allowed Circle in the Square to produce it. José Quintero, as director, had no difficulty showing that this play has little to do with an actress's nudity but much more to do with the Western world's mores and morality, not forgetting that the story is shot through with irony and humor." -Eric Bentley, The New York Times Book Review

The sci-fi spectacular FIGHT GIRL BATTLE WORLD blends stage combat, puppetry, and multi-media to create a uniquely cinematic experience for the live stage. "FIGHT GIRL BATTLE WORLD, the latest lark by the proudly lowbrow Vampire Cowboys Theater Company ... The playwright, Qui Nguyen, clearly knows his Star Wars, and while he has given his story a more topical update - environmental disaster and imperialism play a role - he has really nailed the stilted, jargon-rich style of writing that the saga's creator, George Lucas, is famous for. FIGHT GIRL BATTLE WORLD dispenses with the hipster distance and indulges the embarrassing passion of an obsessed fan ... It's theater for sci-fi nerds ..." -Jason Zinoman, The New York Times "From the refreshingly off-kilter collective known as the Vampire Cowboys Theater Company comes FIGHT GIRL BATTLE WORLD, an action-packed sci-fi saga that blends punch-ups and parody into one delicious mix. Set in a futuristic universe (surprise, surprise) where humanity is nearly non-existent, FIGHT GIRL revolves around E-V, a hardnosed prizefighter and the last known female human in the galaxy ..." -Tom Fay, Show Business Weekly "... Qui Nguyen's script is dotted with spiky humor and ... politically tinged jokes ..." -Ron Cohen, Backstage

Art "Crazy Train" Sligo (Slee-go), all-star wrestling legend, is about to retire. His two sons, his sister-in-law, his greatest fan, and a few unexpected guests gather on the eve of his final match for his last supper, but things just can't seem to stop going wrong in the Sligo home. "... Adam Rapp's brutal and funny play ... The play's aesthetic - realism with a dash of exaggerated dark humor, detailed observations of the pop-culture world delivered with energy and immediacy - are familiar from Mr Rapp's recent work in many forms. In the last few years alone they have included the play RED LIGHT WINTER, a finalist for the Pulitzer Prize, as well as a fine small film he wrote and directed, Winter Passing, and a witty coming-of-age novel, Year of Endless Sorrows. AMERICAN SLIGO ... bolsters his reputation as a writer ... as a writer he veers in a few unexpected directions, with new characters popping up, and others revealing surprising layers ..." -Caryn James, The New York Times "... AMERICAN SLIGO, his latest attack on the moral values and social conventions that define the American way of life ... Rapp hits his stride in the razor-cut pieces of dialogue ..." -Marilyn Stasio, Variety

Part Greek tragedy, part blackest comedy, HILLARY AGONISTES presents the cautionary tale of Hillary Clinton, newly elected President of the United States. One bright spring day 65 million people disappear - First Husband Bill among them. Is it the rapture? Pat Robertson, Stephen Hawking, a Papal emissary, the Antichrist, and a Muslim convert named Chelsea offer their opinions as Hillary agonizes and attempts to avert Armageddon. "... The character onstage may be Hillary Rodham Clinton, but it is a Hillary that America is only starting to imagine: President Hillary Rodham Clinton in the Oval Office in the spring of 2009. And in Nick Salamone's play HILLARY AGONISTES she is wrestling with a crisis of biblical proportions: the sudden disappearance of sixty-five million people worldwide (including her own husband) ... it is also the latest provocative entry in the Hillary Canon, the continuing mapping of Mrs Clinton across the cultural landscape ... In HILLARY AGONISTES ... Mr Salamone treats his fantastical subject matter with serious purpose, and he often gets Mrs Clinton eerily right ..." -Patrick Healy, New York Times "Nick Salamone is a very talented man who has written what must surely be one of the best, full-scale new plays in Edinburgh this year ... HILLARY AGONISTES is a well-constructed satire that deserves to have a life after Edinburgh ..." -Philip Fisher, The British Theatre Guide

Three one-act plays from the first-year playwrights of Yale School of Drama, 2008.

TAKING CARE chronicles the last years of an elderly woman and the mentally ill adult son who has lived with her for almost three decades. Stuck in a cramped, one-bedroom apartment, Ma and Benny have spent much of the past thirty years pretending the other wasn't there. Now that the old woman is more or less house-bound, she foists conversation upon her unwilling son and threatens to institutionalize him if he doesn't clean up his act and start behaving more responsibly. When she breaks her hip, Ma convinces her alienated daughters that their brother is well enough to look after her in her "recovery." Realizing that failure to do so could result in institutionalization for both them, Benny tries to rise to the occasion and care for his mother, even as she begins a quick decent into dementia. His new responsibilities test his limited capabilities and force mother and son to forge new bonds in the waning days of her life. "... with this new play McCullough proves she is indeed as much of an artist as she indicated she might be in CHAGRIN FALLS ... as an act of play writing and theater it is remarkable, if not brilliant. McCullough gives us a slice of life that is so lifelike and dialogue so realistic, it could pass for a transcript from life. To achieve this level of naturalism, a writer must have keen powers of observation, a strong sense of purpose and the ability to translate her observations into compelling, believable dialogue. McCullough excels in all three categories ... TAKING CARE may not make for great commercial theater, but it is something much more important. It is an artistic success, one that plumbs a writer's depth and reveals her range as a writer. There is more to this woman than meets the eye in any one of her works." -Jack Helbig, Daily Herald "... Mia McCullough's quietly devastating TAKING CARE ... scenes that are full of the suppressed rage and tedium that infuse the characters' lives, and that are scraped clean of any hint of sentimentality ... a series of many short, seemingly simple scenes that ultimately build to make a powerful statement about human existence. Her play is as lean as a screenplay ... TAKING CARE offers something less than a pretty picture, but it is a true one, all around." -Hedy Weiss, Chicago Sun-Times

"One night in a motel room in the middle of Idaho, a woman finds comfort in a few bored strangers. She's having seizures, lost, broke, looking for home. She meets a young man who's never left home. They find something in each other that neither expected, a place to rest."--

In present day Los Angeles, Esmeralda, feisty with a capital "F" and frustrated, desperately wants out of her secretarial job. The escape act begins when Sam, a shy, literary accountant, asks her out. Amidst the poetry of Latin American and Spanish romantics and, well, mathematical equations, a comedic "marriage of the minds" ensues catapulting them out of their work-a-day lives and into an unforgettable lesson in how to love. "García-Romero's witty, fast-paced play does give the (mismatched lovers) situation a new twist, focusing on two very individual and well-drawn characters in a particular cultural stratum that American theater hasn't handled often or well." -James Reel, Tucson Weekly "García-Romero has a writing style that comfortably contains the literary spirit of Gabriel García Márquez, Jorge Luis Borges and others ... The conversations in this two-person play flow back and forth in gentle shapes. Even when there is much shouting, the words never feel jagged or abrupt. Like boxers they thrust and parry, shifting from offense to defense and back again, hoping to find an advantage." -Chuck Graham, Tucson Citizen "... García-Romero's voice is a vibrant one that has a love of language and storytelling ... there are some wonderful verbal images in this play - one, a blue bucket by a bed to catch tears, is particularly poignant. And García-Romero has an ear for rhythmic dialogue." -Kathleen Allen, Arizona Daily Star

On an island in Maine, two men of the cloth - a Bishop and a disgraced former priest - conduct an investigation into the disappearance of a young priest. As his story is recounted, we see the young priest, Edmond, and a parishioner, Sheila, meet. Sheila wants Riley, her eleven-year-old son who has Canavan's disease, to receive communion. Edmond tries to educate a child considered incapable of communication. As Edmond becomes more involved with Sheila and Riley, he begins to question his religious and human role. In need of her own spiritual guidance and companionship, Sheila challenges Edmond's humanity, while also threatening his priesthood. "Penetrating intelligence and emotional entanglements aplenty ... As it closes with a haunting final question mark, the strength of CUSTODY OF THE EYES lies in its inability to answer its own pesky queries about church and the soul." -Cleveland Plain Dealer "Riveting ... Anthony Giardina creates a sense of urgency that feels as if the story's two main characters are racing toward destruction ... Giardina keeps us glued to our seats ... The play has a final burst of clarity that's overwhelming ... this unsettling play, which also offers a lingering note of hope." -Akron Beacon-Journal "Immediate, resonant and relevant for believers and atheists alike ... the messages in CUSTODY will echo for some time" -Scene (Cleveland)

Bob and Lily Baker get together with Sam, Bob's best friend, and Molly, Sam's wife, for a 15th wedding anniversary. What is intended as a celebration of enduring companionship begins to be undermined by a sense of misgiving and a strange sadness that seems to have befallen Lily. This is a tale of a difficult, challenging weekend, during which two marriages seem on the brink of collapse. But it is also the weekend when Bob and Lily Baker fall in love with each other again. "... there is a richness of characterization and scope here that tease, please and surprise, and with a mythic stretch that is, at its best, reminiscent of Edward Albee's WHO'S AFRAID OF VIRGINIA WOOLF?" -Nancy Churnin, Los Angeles Times "I first encountered the work of playwright Russell Davis ... at the world premier of his FURTHER ADVENTURES OF SALLY ... I found myself hanging on every word and admiring Davis's singular communicatory skills more with each passing moment ... I was no less entranced with Lily than I was with Sally ... amusing us more than a little en route with a verbal wizardry that warms and delights. Davis at the same time painlessly imparts a deeper universal meaning having to do with personal signposts lost and regained ..." -Nels Nelson, Daily News