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Two young grifters try to strike a deal with the devil during the hottest summer on record. "An ambitious and prodigiously talented writer."Charles Isherwood, Variety "Rapp…shows an exuberant love for the written word… [He] tells stories that encase classical themes-class and envy, ambition and alienation-in blunt terms and in modern settings."Jesse McKinley, The New York Times "One of the more daring young stylists working today."David Cote, Time Out

"Blissfully zany… …it is mainly just a free-wheeling romp that takes off some of the characters, incidents, and ideas in Cervantes's book. It is that form of comedy, known as burlesque or travesty, which achieves its humor by the low and ridiculous transformation of a loftier subject. (Actually, since the original DON QUIXOTE was itself a burlesque of medieval romances, DON QUIXOTE DE LA JOLLA is in effect a travesty of a travesty.) More accurately, DON QUIXOTE DE LA JOLLA is not so much a burlesque of the original book (which few people read anyway) but of the image of the book in the mass mind as fostered by other adaptations, most significantly MAN OF LA MANCHA… DON QUIXOTE DE LA JOLLA is, then, a headlong, hectic, hilarious rush, a frantic comic phantasmagoria on Quixotic themes, that needs no scholar annotations; it is great good fun."George Weinberg-Harter, Drama-Logue

A strangely eccentric family awaits the return of the long gone but not easily forgotten Willie. When he finally returns, he disappoints no one with his bizarre brand of confrontational politics. The ending is both violent and ritualistic. A Midwestern gothic. "Robert Auletta's script is a family drama with a difference…it has a frayed-edge poetry and wild-animal energy that turn its story, about a veterinary student and his feral foster brother, into an event that's half ritual and half nervous breakdown…"Michael Feingold, The Village Voice"The first production of Robert Auletta's WALK THE DOG WILLIE was in 1976 at the Yale Repertory Theater. Sam Shepard's BURIED CHILD was written in 1978 or '79. I'm not suggesting that because of the evident similarity of the two plays Shepard must have borrowed from Auletta or been influenced by him… No, something more interesting is at work here: a cultural confluence, an affinity of consciousness, a resemblance of attitudes, most specifically a shared sense of the heartland American family as rooted in strains of madness and violence, simultaneously sustained and corrupted by myths and bound by a love that more than touches on despair…"from Richard Gilman's introduction

A musical presentation of magical and possible events in the lives of two women born in the 19th century. Megan Terry has published over forty-five plays. Most have been translated and produced worldwide. She has won a number of major writing awards, including a Guggenheim Fellowship and an Obie Award. She was elected to lifetime membership by the College of Fellows of the American Theatre, installation at the Kennedy Center, Washington, DC

Poisonous mushrooms, red herrings, marital infidelities, and a mysterious Merchant of Death are elements in this English style thriller with a fascinating, intricate plot. The cast is two women and four men.

Originally produced by the Provincetown Players in 1915, SUPPRESSED DESIRES satirizes the then-current obsession with dream interpretation: Henrietta, is unable to stop over-analyzing the dreams of her husband, Stephen, and sister, Mabel.

"Scientists know that space-time is more fluid than we think. If only we mere mortals could harness this energy, we might be able to change a few things in our pasts that we regret. And if we desire it enough-think about it just hard enough-would it happen? That's the premise of LOST IN TIME, the astonishing play by Tony Pasqualini. Danny is completely disoriented when he wakes up, not in his comfortable San Francisco home, but back at school with his rather dippy roommate, Robert. When he finally realizes he's somehow transported back to his college years, he sets out to alter a few key, regrettable incidents in his life, by making different choices. Alas, nothing goes as planned. His future wife spurns him when he makes an early entrance in her life; his father dies unexpectedly, and, in a completely new development, his future sister-in-law becomes insistent that he should date her.... Does Danny manage to bring his life back around after turning his future on its head? I'll leave it to you...to see how all this gets sorted out."Leigh Kennicott, showmag.com "When the past becomes the present, can you change the future? In Tony Pasqualini's new play, LOST IN TIME, Danny finds himself transported 40 years into his own past. In an attempt to rectify the wrongs he committed in his marriage, he tries to use this unique opportunity to make things right. However, the more he gets lost in this new life, the more the future he left behind becomes distant and irretrievable. When he wakes up 40 years in his past, Danny is understandably stunned.... We are then introduced to his roommate, the slightly immature, yet instantly lovable Robert.... When Danny makes the trek from Boston to Vermont to meet his not-yet wife, Gwen, he encounters Gwen's rebellious older sister, Amy. Witnessing Gwen struggle against her inexplicable attraction to Danny (remember, in this alternate version of the past, he's practically a stranger) is fascinating; what is particularly endearing, however, is watching the budding friendship between Robert and Amy, and the obvious crush he develops on her after she comes up to Boston for a visit. LOST IN TIME puts a wonderful twist on a classic trope. This thought-provoking text..."Julia Stier, Stage Raw

Henry Sullivan, 27, single, gay, and autistic, lives his life vicariously through the heroes and heroines of the 19th Century British novels he devours. But no marriage plot has prepared him for dating as a contemporary gay man. When he meets a potential match in Joseph, every romantic notion of his will finally come true-or will it? Hilarious and heartbreaking, LIGHT SWITCH tells the story of one remarkable young man's journey toward love and acceptance over the span of twenty years. LIGHT SWITCH is a vital and important theatrical piece. Dave Osmundsen, a gay, autistic playwright, weaves his personal experiences as both child and an adult into a passionate tapestry of loving relationships and insights into the autistic mind. LIGHT SWITCH will have you on the edge of your seat with riveting humor as well as deeply felt emotional moments, portrayed in a manner that is engaging, entertaining and educational. Its messages go well beyond the world of autism and LGBTQ relationships, and will be meaningful for those whose lives are touched by autism as well as those whose lives are not (or not yet).Barry M Prizant, author of Uniquely Human: A Different Way of Seeing AutismWith LIGHT SWITCH, Osmundsen has created one of the great central characters of contemporary theater in a beautifully written story existing at the intersection of neurodiversity and queerness. The play is a classic example of the specific being universal. What defines us as individuals differs in the details, yet we are all after the same things in life. Just like the main character Henry, we all seek love. I highly recommend this play for theaters with young ensembles and for people interested in sitting down to read a fantastic play that will entertain and move them.Brian James Polak, playwright and host of The Subtext podcastIts intersectional importance aside, LIGHT SWITCH is simply a magnificent, skillfully-written play. It tells the story of a challenged, often challenging, but always endearing young man who is learning how to love.Michael John Carley, Founder, GRASP, Director, the Connections Program for New York University's global Autistic Students, Author, The Book of Happy, Positive, and Confident Sex for Adults on the Autism Spectrum...and Beyond!With LIGHT SWITCH, Dave Osmundsen has deftly written a beautifully poignant play of first love and self-acceptance through an Autistic lens. The relationships in the play are painfully complicated and fully realized by the playwright's keen observations of young people colliding in a world of love, sex, intimacy and intellectualism. It's a world I didn't know, but a world that I'm grateful Dave gave me a tender glimpse of.Gary Garrison, playwright, and author of Perfect 10: Writing and Producing the 10-Minute Play

Frank West reunites with three Army buddies who have not seen each other since being seriously wounded in Vietnam on the same day by artillery "friendly fire" more than fifty years ago. Sharing their memories of what happened, they struggle to make sense of their experience and their lives since Vietnam. When their focus shifts to their well-respected squad leader, Joker, Frank is forced to admit to his buddies and to himself his role in Joker's death.

Neil LaBute brings a rich theatricality and his provocative way with language and story to the world of Count Dracula, Van Helsing, Jonathan Harker, and his beloved Mina-this time, with very much a mind of her own-infusing the classic gothic tale of terror, obsession, and pathos with a modern edge. Chilling yet stylish in its atmosphere, dark yet deeply human in its emotional impact, Neil LaBute's DRACULA is a tribute to both LaBute's dramatic vision and the timelessness of Stoker's novel.

"BLIND DATE, Rogelio Martinez's playfully titled and altogether amusing geopolitical romp...might very well be described as a "Ron-com." Ron as in Ronald Reagan, the actor, California governor and 40th President of the United States whose military and foreign policies some say helped bring the Cold War to an end (at least temporarily). Whatever the long-term historical assessment of all that might be, there can be no doubt that one of the most notable events in late 20th century U S-Soviet relations occurred during two days in November, 1985: Reagan, (who seemed to have bounced back from a 1981 assassination attempt, but as always was somewhat indecipherable), met for the first time at a summit in Geneva, Switzerland with Mikhail Gorbachev, who had only recently been elected to serve as General Secretary of the Soviet Union, and was something short of secure in his position. As with all blind dates, the "couple"...arrive in a state of both apprehension and hopefulness. And their actual meeting ("truthy" as it might or might not be here, and without the presence of translators who are always essential elements in the room) is marked by all the nervous humor, misunderstandings, game-playing and awkwardness of such encounters. The two men also arrive with their respective wives... Also in attendance are the all-important advisors: U S Secretary of State George Shultz, and the sophisticated Eduard Shevardnadze, the Soviet Minister of Foreign Affairs, whose introductory lunch cannily reveals much about both men. Dancing around the edges of it all is Edmund Morris, the British-American historian whose much-anticipated biography of Reagan ultimately became what he described as "a work of nonfiction by an imaginary author" -largely the result of Reagan's impenetrability. Most crucially, given the moment in which audiences are now watching BLIND DATE, there is a fully "meta" quality about the play, with the decorum and diplomatic interplay of the historical event free of the social media contagion of the moment, and with the press corps very much of a long-gone era. In fact, if you tend toward nostalgia, you also might delight in the witty, zestful way in which Larry Speakes, Reagan's Mississippi-bred acting Press Secretary, handles his job. Yet more than anything, there is a sense of constructive peace-making and future-building (if far from naive "trust") here-one that might just keep mutually assured nuclear destruction at bay. To be sure, BLIND DATE...is no documentary. But the Cuban-born Martinez, who has riffed on the Cold War era in several other plays, captures both the personalities and issues in play, including the Reagan administration's "Strategic Defense Initiative," which raised the hackles of the Soviet Union, a nation already suffering from the fallout of its war in Afghanistan, a flailing economy, and Gorbachev's untested leadership. Two more wildly different personalities than "Ron" and "Misha" could not have been put in a room together. And yet, for whatever reasons (a mutual wish for a sane approach to major differences), they managed to find some common ground. And now, seen with the power of hindsight, a sort of melancholy overlays the farcical aspects of the play simply because we know Gorbachev's short tenure ultimately led to the arrival of Vladimir Putin, that Reagan's legacy was laced with a diagnosis of Alzheimer's disease and that nuclear war is no longer a matter of just two sides..."Hedy Weiss, Chicago Sun-Times

"What does it take to become a charismatic spiritual leader, one who has people questioning and empowering their own faith? Is it possible in our media soaked society to grab the attention of millions of people simply by speaking your mind and sharing your faith, ultimately proving the power of positive thinking? In...the complicated and timely play THE POWER OF DUFF by Stephen Belber, TV anchor Charlie Duff begins to sign-off each Rochester news broadcast with a prayer from his heart about a situation in his own life. His co-workers react negatively, but when a growing crowd of believers becomes glued to their TV sets wondering when their prayers will be answered, the jump in ratings quickly changes the minds of his co-anchors Sue Raspell, sports co-anchor John Ebbs, and sufficiently slimy station boss Scott Zoellner. The play is ultimately about a person who is fundamentally ambivalent about religion, even about spirituality-who undergoes an emotional transformation, which in turn leads him to a position of being a suddenly looked-to spiritual leader even as his ambivalence continues. But what his on-air prayers do-and don't do-to those closest to Duff tests the news anchor's own beliefs. Can he inspire others to help each other when he has trouble doing just that in his own life? Stephen Belber's sharp new play asks if there is anything more vital than the faith we have in ourselves and one another.... Playwright Stephen Belber['s]... ability to look inside the hearts and souls of his characters always shines through even the most difficult situations. You will walk out questioning your own life and how you can change it for the betterment of yourself as well as all around you."Shari Barrett, broadwayworld.com

"Free and responsible for myself... It all changed when I could choose."Ellida, ACT FIVE "The first play in which Ibsen entirely abandons social satire and devotes himself to pure psychology."William Archer (1907)Ibsen's rarely performed play, THE LADY FROM THE SEA, was written just before HEDDA GABLER. It is a powerful expression of a woman's search for her own identity, in a world where women are defined by who they are with, instead of who they are or who they could become. Richard Nelson's translation was commissioned and produced by Court Theatre in Chicago.

The story of a younger generation grappling with the actions and inactions of those who came before. When Beau, a directionless 19 year-old, discovers that his mother was involved in a decade-old unsolved crime during her time as a military contractor, he seeks out the Afghan victim's daughter in California. As the web of the past widens, we see how a single, largely forgotten evening is still affecting people-and politics-throughout the country and world. A series about how people move forward when the past refuses to fade. "Rather than sensationally ripped from the headlines, the play's dilemmas grow organically. And then there's a strong post-play half-life, leaving you debating your emotional allegiances. Although figuring out what happened provides the machinery of the plot, WE ARE AMONG US isn't exactly a mystery. It's more about figuring out its people, including the "us" of the title. Its half-life is vivid, like that of war, where figuring out the facts can't remotely relieve the pain.... It's remarkable how this seemingly predictable small play becomes big and how quickly it forced me to invest in its three central characters. This is even though (this is at the heart of the play's power) it's a zero-sum story where what we wish for each character complicates what we can wish for the others. No, make that a negative-sum story in which each revelation further contracts the options. We're forced into a pattern of tightening choices, just as the people the play dramatizes."Pittsburgh Post-Gazette

"A masterpiece of deft, taut, economical writing. Hardy introduces, defines and develops characters with laser-like precision, creating sympathetic, likable folks the audience can't help caring about and a fast-moving and engaging story with a good dose of humor."Milwaukee Journal Sentinel "Showrunners take note. Hardy...takes the best elements of contemporary cultural references, social media, and pop science and turns them into something more than the sum of those parts-an out-of-this-world, all-ages celebration of nerdiness, empowerment, and love."DC Theatre Scene "An adventure that takes you to the very edge of existence and back.... An intimate story about the potential that lies in all of us... you'll find yourself stargazing."Broadwayworld.com, DC "The cool thing about Hardy's script is how it falls in the in-between. The journey of Annie Jump would mean as much to a teen as it would a grown-up, and we need more theater like that. ANNIE JUMP AND THE LIBRARY OF HEAVEN aims to bridge the gap in theater-going age groups and link up fresh, youthful audiences to that mysterious, perhaps-undiscovered universe of the stage."Broadwayworld.com, MKE "...positively jaw-dropping... It's not often that science fiction makes it to a local stage. Thanks to Hardy and Renaissance, the genre is ushered to the Broadway Theatre Center with wonder, respect and a great deal of genuine emotion."The Small Stage "Playwright Reina Hardy writes with economy and authority. She is an excellent storyteller who has the audience rooting for Annie and her father throughout the production... A show like this doesn't come along all that often. "Totaltheater.com

This collection contains three full-length plays: CRAZY PLAYS, THE ENDLESS ADVENTURES OF M C KAT and TOMORROWLAND.

A black comedy touched with absurdity and a philosophical bent that puts the torch to middle-class complacency. "...Lock's ideas lend tangy new flavor to an old form... HOUSE OF CORRECTION is first, last and always a superior mystery-comedy-thriller... He has written a fast moving, absurdist piece of neo-realistic suspense of the sort that works best only in the theater. It is a tribute to his talent..." Sylvie Drake, Los Angeles Times "...Norman Lock's treatment of the evils of psychotic schizophrenia versus the even more ugly aspects of pretentious armchair liberalism is nothing short of hilarious in this outing. It's offbeat and loony with a sitcom flare..." Teen., Daily Variety "...it's very funny, and very scary like a nightmare that wakes you up shaking, forcing you to reassess your life... Lock's weapon is words and he uses them well...his imagery is vivid, his dramatic momentum strong..." Tom Jacobs, L A Life "This is a delightfully dark, beautifully acted suspense comedy...a script that balances outrageous farce and human tragedy... It is Lock's gift for concocting eccentric characters and devilishly comic situations that propels the play." Downtown News (Los Angeles) "This rollercoaster of a play may well turn out to be one of the most significant new plays at this year's Fringe...a gripping, individualistic piece." The Stage (Edinburgh) "We are kept on the edge of our seats as events move toward a climax beyond expectation...makes us laugh our way up a mountain of suspense." The Scotsman "HOUSE OF CORRECTION moves from sitcom to Hitchcock, mingling the two so neatly that sometimes you don't know which you're watching." Naked (Edinburgh) "The play remains ingenious in identifying those essential American tenets and dragging them screaming and skewed to their conclusion." The Guardian (Edinburgh) "...entertaining but rigorous in its approach to important moral issues... This is the first chance for British audiences to see the 'absurdist comedy-thriller' that has played across America, but the questions it raises are bound to be relevant here as they are across the Atlantic." Glasgow and Edinburgh Events Guide

Trapped by a storm in the office of the environmental organization for which they work, Antony and Janna find that their conflicting views on race and the environment have the power to send them back in time to discover how closely related they really are.

"Run GLENGARRY GLEN ROSS through a Monty Python spin cycle and you might get Brian Parks's kinetic farce ENTERPRISE, an absurdist express train of comic corporate-speak… Four ambitious businessmen in a skyscraper-the bespectacled Weaver, the fresh-faced Sanders, the somewhat dim Owens and the experienced Landry-entertain big dreams of impressing the unseen chairman of their imperiled company with a proposal that will send profit margins into the stratosphere. But over a night the men spend collaborating, then pairing off into two rival factions, their hopes rise and fall in a stream of bluster, invective and recriminations. Their exchanges arrive in a succession of 45 rapid-fire blackouts, many introduced with pings and other audio snippets that suggest, say, a text alert, or a news-radio bulletin, or an office copier. Among the many concerns preoccupying these fatuous climbers are the suspiciousness of uncentered mimeographs; the "smell" of diminishing value; the Depression-era allure of jumping out a window; and the perceived vulnerability of office toilet stalls. Conspicuously absent from the discussions are mentions of home, family or women-as spouses, relatives or colleagues. ("Astrology is astronomy for girls", says Landry dismissively.) No surprise there: These men live only to compete with and impress one another (and their boss). No one else has any place in their displays of would-be brainpower and self-consuming testosterone. …The true star is Mr Parks's dialogue: If a joke doesn't hit its mark (and some are simple non sequiturs), another one lands before you have time to notice. Mr Parks, a former theater editor at The Village Voice and an ex-chairm an of the Obie Awards, is noted for the fast pace of his work. ENTERPRISE comes off a 2017 run at the Edinburgh Festival Fringe, where it won a Scotsman Fringe First Award. The playwright's hapless executives may not qualify for a raise, but his ENTERPRISE merits a promotion." Andy Webster, The New York Times

"The great joke of the universe-well, there are lots of great jokes of the universe. But one of them, certainly, is that human beings can't be trusted with the things they're capable of creating. We build combustion engines and choke on them, split atoms only to irradiate ourselves. Brett Neveu's new farce does a fine, crazed, funny job of telling that joke. Chris is an inventor who's come up with something astonishing. He takes it to Britt, who develops and markets astonishing inventions. Trouble is, some of Britt's previous astonishments have wreaked so much havoc that his corporate headquarters is under violent siege from all sides. Chris's sit-down with Britt turns into something out of Jurassic Park-assuming the park were run by General Jack Ripper from Dr Strangelove."Tony Adler, Chicago Reader