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The Oldest Boy is a richly emotional journey filled with music, dance, puppetry, ritual, and laughter—Sarah Ruhl at her imaginative best. A meditation on attachment and unconditional love, the play asks us to believe in a world in which sometimes the youngest children are also the oldest and wisest teachers.
Clybourne Park is the winner of the 2011 Pulitzer Prize for Drama, and the winner of the 2012 Tony Award for Best Play.
Winner of the Outer Circle Critics Award for Best Play
Winner of the Drama League Award for Best Production of a Play
Winner of the Drama Desk Award for Best Play
Winner of the New York Drama Critics Circle Award for Best Production
Winner of the Off-Broadway Alliance Award for Best Play
Nominated for six Tony Awards®, Vanya and Sonia and Masha and Spike is one of the most lauded and beloved Broadway plays of recent years. Vanya and his adopted sister Sonia live a quiet life in the Pennsylvania farmhouse where they grew up, but their peace is disturbed when their movie star sister Masha returns unannounced with her twenty-something boy toy, Spike. A weekend of rivalry, regret, and raucousness begins!
"Weird and wonderful . . . Eno's familiar sudden-shifting between profound and playful verbiage is delightfully disarming and sometimes awfully funny."—Variety
“Plays as funny and moving, as wonderful and weird as The Realistic Joneses… do not appear often on Broadway. Or ever, really…. Mr. Eno’s voice may be the most singular of his generation, but it’s humane, literate and slyly hilarious…. For all the sadness woven into its fabric, The Realistic Joneses brought me a pleasurable rush virtually unmatched by anything I’ve seen this season.” – The New York Times
“As usual, Eno’s dialogue is a marvel of compression and tonal control, trivial chitchat flipping into cosmic profundity with striking ease…. There’s much to savor: the dry but meaningful banter, the joy of humans sharing time and space, battling the darkness with a joke or silence. Life in Enoland isn’t what you’d call realistic—it’s more real than that.” – Time Out New York
“[An] elliptical, funny, dark and strangely moving new play…. Eno is a writer with heart and compassion.” – Chicago Tribune
“Eno's first-ever commercial foray ups the creative ante in a Broadway climate that can be resistant to new voices…. [A] very fine play where laughter exists a heartbeat, or heartbreak, away from tears.” – The Telegraph
Meet Bob and Jennifer and their new neighbors John and Pony, two suburban couples who have more in common than their identical last names. Boasting the playwright's quintessential existential quirkiness, this new comedy finds poetry in the banal while humorously exploring our ever-floundering efforts at communication. Listed as one of New York Times's Best Plays of 2012, The Realistic Joneses received its Broadway premiere in spring 2014, starring Toni Collete, Michael C. Hall, Tracy Letts and Marisa Tomei, and opening to rave reviews.
Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include Middletown, The Flu Season, Tragedy: a tragedy, Intermission, and Gnit, an adaptation of Henrik Ibsen's Peer Gynt. His many awards include the PEN/Laura Pels International Foundation for Theatre Award, the Horton Foote Prize, and the first-ever Marian Seldes/Garson Kanin Fellowship by the Theater Hall of Fame.
From the Trade Paperback edition.
In this powerful play, a landmark of modern drama, Chekhov masterfully interweaves character and theme in subtle ways that make the work's climax seem as inevitable as it is deeply moving. It is reprinted here from a standard text with updated transliteration of character names and additional explanatory footnotes.
MEDVIEDENKO. Why do you always wear mourning?
MASHA. I dress in black to match my life. I am unhappy.
MEDVIEDENKO. Why should you be unhappy? [Thinking it over] I don't understand it. You are healthy, and though your father is not rich, he has a good competency. My life is far harder than yours. I only have twenty-three roubles a month to live on, but I don't wear mourning. [They sit down].
MASHA. Happiness does not depend on riches; poor men are often happy.
MEDVIEDENKO. In theory, yes, but not in reality. Take my case, for instance; my mother, my two sisters, my little brother and I must all live somehow on my salary of twenty-three roubles a month. We have to eat and drink, I take it. You wouldn't have us go without tea and sugar, would you? Or tobacco? Answer me that, if you can.
MASHA. [Looking in the direction of the stage] The play will soon begin.
“Ruhl’s zany probe of the razor-thin line between life and death delivers a fresh and humorous look at the times we live in.”—Variety
“Sarah Ruhl is deliriously imaginative and fearless in her choice of subject matter. She is an original.”—Molly Smith, artistic director, Arena Stage
An incessantly ringing cell phone in a quiet café. A stranger at the next table who has had enough. And a dead man—with a lot of loose ends. So begins Dead Man’s Cell Phone, a wildly imaginative new comedy by playwright Sarah Ruhl, recipient of a MacArthur “Genius” Grant and Pulitzer Prize finalist for her play The Clean House. A work about how we memorialize the dead—and how that remembering changes us—it is the odyssey of a woman forced to confront her own assumptions about morality, redemption, and the need to connect in a technologically obsessed world.
Sarah Ruhl’s plays have been produced at theaters around the country, including Lincoln Center Theater, the Goodman Theatre, Arena Stage, South Coast Repertory, Yale Repertory Theatre, Berkeley Repertory Theatre, among others, and internationally. She is the recipient of the Susan Smith Blackburn Prize (for The Clean House, 2004), the Helen Merrill Emerging Playwrights Award, and the Whiting Writers’ Award. The Clean House was a Pulitzer Prize finalist in 2005. She is a member of 13P and New Dramatists.
“[This] breathtakingly inventive addition to Ruhl’s singular body of work . . . has the potential to be a modern masterpiece.”–Los Angeles Times
Sarah Ruhl made her Broadway debut this fall with her latest effervescent comedy: a play about sex, intimacy, and equality, set in the 1880s, when enthusiasm for the electric light bulb gave rise to a handy new instrument to treat female hysteria. The story revolves around the medical office and home of Dr. Givings, who regularly induces “paroxysm” in his once high-strung patient Sabrina, allowing her to happily return to playing piano. Soon, Sabrina falls in love with the doctor’s assistant Annie, and also befriends his wife Catherine, who is dealing with her own neurotic misgivings about not being able to breast-feed her baby. With this new work, Ruhl once again uses playful symbolism and lyrical language as she makes seemingly effortless thematic leaps—crafting a play with tremendous critical and audience appeal, in her singular theatrical voice.
Sarah Ruhl’s plays include Dead Man’s Cell Phone, The Clean House (a Pulitzer Prize finalist), Passion Play, and Eurydice, all of which have been widely produced throughout the United States and internationally. She is a recipient of the MacArthur Fellowship.
From 1947 to 1977, Robert Lowell and Elizabeth Bishop exchanged more than four hundred letters. Describing the writing of their poems, their travel and daily illnesses, the pyrotechnics of their romantic relationships, and the profound affection they had for each other, these missives are the most intimate record available of both poets and one of the greatest correspondences in American literature.
The playwright Sarah Ruhl fell in love with these letters and set herself an unusual challenge: to turn this thirty-year exchange into a stage play, and to bring to life the friendship of two writers who were rarely even in the same country. As innovative as it is moving, Dear Elizabeth gives voice to a conversation that lived mostly in writing, illuminating some of the finest poems of the twentieth century and the minds that produced them.