Bøger udgivet af BROADWAY PLAY PUB INC (NY)

Six longtime female friends meet at a NoHo loft on the stormiest night of the year and, with the help of vast quantities of wine, unload what's in their hearts and minds.

"TWIGS AND BONE is not the first play to put a make-believe baby on stage, but it may be the most hair-raising. This particular phantom infant, conceived by playwright Tiffany Antone, figures prominently and paranormally in a gothic family drama...a gripping ghost story that explodes in your brain.... We are in the childhood home of Moira, now a 30ish lawyer, who has not been back in eight years but has been paying for a landline and a succession of cleaners to help out her demented parents, Bonnie and William. Alarmed when the phone is cut off and having no other way to reach them, Moira shows up for what will be a horrific three-day visit full of recollected resentments, delusions, and downright scary plot twists.... What lifts this family's epic meltdown from excruciating to riveting is not only the astonishing storyline (which I'll not reveal) and delectably idiosyncratic characters but also Antone's exquisite writing. Tucked among the dialog is some breathtaking poetry and imagery.... ...what [is] indisputable is that TWIGS AND BONE is as sturdy a psychological thriller as has ever been seen in American theater."John Stoltenberg, DC Theater Arts

"Mr Spock likely would have raised an eyebrow and proclaimed th[is] play 'fascinating.' LAST SHIP TO PROXIMA CENTAURI zips issues of immigration, race, gender, ethnicity, genetics, demographics, history, politics and economics, to name just a few, into space suits for a dark comedy set in a not-so-appealing future. There's definitely a lot to think about in this highly imaginative and sometimes quite biting work. The titular ship is one of several launched on a mission to save thousands of humans from a planet Earth that's no longer inhabitable. Rotating crews, who are otherwise suspended in a life-extending "stasis," take the con as millennia pass. After an unexpected delay, the last ship gets a signal from planet Proxima Centauri, and the two on-duty crew members celebrate madly. Not so fast. In author Lam's Clauder Competition-winning creation, the current inhabitants of the planet have several rather probing questions they'd like to ask before their "committee" decides if the new arrivals will be welcomed. For example, why is this ship from America populated mostly by privileged white people while the new world of Proxima Centauri is in the hands of people who came from more diverse racial and ethnic backgrounds? Who takes on the role of "outsiders" in this new world? The planetary tables have been turned. But is the new order on Proxima any better? The author relentlessly pulls on these threads while the action of a hard landing on a distant planet plays out."Steve Feeny, Portland Press Herald "...Greg Lam's dark-comic sci-fi drama LAST SHIP TO PROXIMA CENTAURI. A Clauder Competition winner, this [is a] pointed and very entertaining show.... Like all good science fiction, LAST SHIP provides a fantasy world of cultural inversions and alternatives, the better for us to consider our own reality. In this case, Lam gives us an opportunity to rethink American culture by watching what happens when white Euro-Americans show up as refugees in a society that wasn't settled by white people, a society whose historical memory of white America includes some Frasier, but a lot more colonialist violence. LAST SHIP channels classic sci-fi tropes to pose challenging questions about race, immigration ethics and politics, the legacy of hegemony, and the plasticity of historical narrative.... In his storytelling, Lam deepens these genre hijinks with his rich world-building of the new planet, which is multicultural...but definitely not utopian-kind of like Hawaii under the rule of Chairman Mao.... LAST SHIP TO PROXIMA CENTAURI continues the sci-fi tradition of letting the last frontier take us back, however uncomfortably, to our own home-to seeing how it might look from a distance, and from the outside."Megan Grumbling, Portland Phoenix

"In Michael Benjamin Washington's absorbing new play about an all-but-forgotten civil rights leader, one of the biggest moments in the fight for racial equality comes off despite-or perhaps because of-a crisis of faith. Faith, in fact, becomes a key motif coursing through BLUEPRINTS TO FREEDOM: An Ode to Bayard Rustin. There's the faith that other African-American activists place in Rustin to organize the 1963 March on Washington for Jobs and Freedom, despite plenty of agonized mutual history. There's the broader faith in the idea that such an action can make a difference, with discrimination and segregation still pervasive in America 100 years after the Emancipation Proclamation. And then there's Rustin's own deep Christian faith, shattered (by his count) 669 days before the play begins, when he was forced to quit the Southern Christian Leadership Council over worries about publicity concerning his private life. Rustin, a pillar of the civil-rights movement who died in 1987, was a gay man (more or less openly so) in a time when that was difficult even for someone not already facing bigotry. That aspect of his identity helps explain why his name has faded from our nation's roll call of those who led the movement in the 1960s. The play...is an often lyrical, dialogue-rich piece of work whose political sweep and sense of building momentum is reminiscent of ALL THE WAY, Robert Schenkkan's 2014 Tony Award-winner about President Johnson's push to pass the Civil Rights Act of 1964.... [There is] humor, too. When Rustin's bright young assistant, Miriam Caldwell, asks Rustin and his mentor, A Philip Randolph, why they speak so formally, Randolph replies that it's a nod of respect to their ancestors. Rustin's response: 'I do it to confuse white people'. (After a pause, he adds: 'I speak this way aloud because I speak this way to God'.) Despite the triumphant notes around the march, which drew a quarter-million people, there's a storm yet to come in BLUEPRINTS. There's always another storm to come, as the 'Black Lives Matter' movement can attest today. BLUEPRINTS bears witness that history matters, too."James Hebert, The San Diego Union-Tribune

Reviews from the world premiere of the new translation: "The most affecting version that I have ever seen of this epochal comedy of discontent.... The first VANYA that brought me to tears and made me laugh in places I never had before." Ben Brantley, The New York Times "A new and sparkling version."David Barbour, Lighting & Sound America "[This] trim adaptation...underscores the timeless nature of UNCLE VANYA. The artful simplicity.. and this American interpretation of a Russian classic is very satisfying."Michael Sommers, New York Stage Review "A spectacular new Vanya..." Charles McNulty, Los Angeles Times "A canny and colloquial translation."James Herbert, San Diego Union-Tribune "Exquisite new UNCLE VANYA is intimate, resonant... The exquisite translation strips the language to its essence. It's clear and illuminating." Jennifer Vanasco, WNYC, New York

Mikhail Bulgakov's brilliantly theatrical and highly personal adaptation of Cervantes classic novel is here translated for the first time into English by the renowned translators, Richard Pevear and Larissa Volokhonksy (winner of two PEN/Book-Of-The-Month Translation Awards) and the playwright/director, Richard Nelson (Tony Award, Olivier Award). "Since you hear my voice, it means I'm still alive." [ACT ONE]"Where there's music, there's no evil." [ACT THREE]"He has deprived me of the most precious gift a man is endowed with-he has deprived me of my freedom!" [ACT FOUR] "For Bulgakov, theater was...a place full of naïve magic and mystery."Anatoly Smeliansky, Is Comrade Bulgakov Dead?

A pinball wizard for the twenty-first century, Wynne Ledbetter is surrounded by despair. His father is wasting away on workman's comp, his mother is a double-shift waitress obsessed with the lives of the saints, and his sister is a dropout junky. But Wynne has a plan. One of only three players in the country to solve the Tang Dynasty computer game, he will travel to the championships in New York City, where the winner pockets a cool million dollars. With this money, he'll put his sister in rehab, pay for his father's operation, and employ his mother in his very own computer repair shop. But he has to get there first. "STONE COLD DEAD SERIOUS...is the work of a playwright who is forging a real voice... Its rendering of the shared language of loved ones illustrates how families can remain intimate even when they are in shards. Its depiction of a working-class America that is unable to dream of anything beyond enduring is as sincerely sad a commentary on our culture as I've seen in recent memory. And its fear for young people is, unfortunately, deeply convincing." Bruce Weber, The New York Times

"Renaissance con man...history as paradox and discovery as an act of self-definition... An ironic epic: a wry, intelligent and fascinating account of the way the New World was opened by a routeless chancer form the Old." Michael Billington, The Guardian "Nelson offers a vision of the discoverer as demagogue--a deceptive and self-deluded dreamer quick to invoke 'truth and history' without realizing he has distorted them both... It is a strong statement with clear political overtones, not least in Columbus' bleak assessment that 'the new century will be no less ugly that the one we're leaving.'" Matt Wolf, Hollywood Reporter "A wry, savage Columbus...the best new play to have been seen at the Barbican main stage since it was opened a decade ago... Nelson's Columbus is neither the hero of the old history books nor the colonialist villain.... Instead, he's a shambling, ineffectual, low-key opportunist who takes on a voyage to he knows not where, largely because it will allow him to be called Admiral of the Ocean Sea and might guarantee a slight shift in his financial and social position back home in Seville. Accordingly, he sets sail with a motley crew of disenchanted fishermen and Jewish evacuees forced out of Spain and therefore in need of a daft project wherein to hide some of the cash they are trying to smuggle into North Africa. Even so, says Nelson, was the New World discovered, and even then only just." Sheridan Morley, The Spectator

"Set in country villas outside of Rome in the months before Caesar's assassination, Conversations in Tusculum imagines the frustrations of fiery senators and warriors reduced to brooding in self-imposed isolation about the endangered civil freedoms of their republic... A portrait of the guilt of being merely intellectual when the world demands something more." Ben Brantley, The New York Times "Mr Nelson has charted how the chaos of the world enters in the first place: slight by slight, betrayal by betrayal, injustice by injustice, conversation by conversation." Eric Grode, The New York Sun "[CONVERSATIONS IN TUSCULUM] feels a little like Chekhov, and means to remind us of the power-hungry men currently in charge in Washington. Nelson's script, basically faithful to history, is written in a 21st-century vernacular that casts these men as Wall Street or Movie moguls on their days off. TUSCULUM is a taste well worth acquiring." Elizabeth Zimmer, Metro

"A majestic new play." Christopher Kelly, Star Ledger "ILLYRIA...works its way between your ribs." Sara Holdren, New York Magazine "ILLYRIA affords distinctive...pleasures that no one these days does better than Mr Nelson. I mean the sense of experiencing life, in all its trivia and eventfulness, happening in a very specific moment, among people who know one another well." Ben Brantley, The New York Times "Uses the stage not as a pedestal but as a field of whispered dreams." Michael Shulman, The New Yorker "Chekovian discussions unfold against a subtly evoked backdrop of lurking menace. At stake is not just free Shakespeare but the characters' livelihoods amid ongoing McCarthyite witch-hunts..." Max McGuinness, Financial Times "Playgoers are well aware of Nelson's excellence at probing the hopes and illusions of modern-day characters. Here, he takes the larger-than-life Papp & pals and places them into something of a backstage morality play with sheathes of undercurrents worthy of old Will." Steven Suskin, Huffington Post "ILLYRIA's artists catch us up in their rich, reeling talk. But the scale and scope here is vigorously human..." Alan Scherstuhl, The Village Voice