In a city where the Texas Medical Center reigns as one of the top employers in Houston, housing over three thousand medical researchers making the news with new pharmaceutical discoveries almost daily, why did twelve Houstounians unanimously decide to convict Dr. McCall for intentional murder following her trial?”
These are the questions that lead investigative reporter Kate Townsend to write a Pulitzer Prize winning series called Murder in the Texas Medical Center. Haunted by the knowledge that her new-found fame has been purchased at too high a price; Kate is sure that McCall is not guilty.
Texas Governor Greg Bell hires former homicide detective and criminal defense attorney Rich Jansen to fix the escalating problems at the Huntsville Prisons recently inflamed by a lawsuit against infamous inmate Dr. Lindsey McCall. Dr. McCall is an internationally acclaimed cardiologist, researcher, and a 2002 nominee for the Nobel Prize for Medicine. When Jansen’s skills quickly result in the resignation of an incompetent prison medical director, he realizes that this strange saga is just beginning.
Mark Twain wrote that forgiveness was the fragrance shed by a violet upon the heel of the boot that has crushed it. This medical mystery weaves together the lives of two sisters, Lindsey, and Paula, with those of strangers as each cope with loss, betrayal, jealousy, and the exquisitely painful journey to forgiveness.
In her second chapter which she calls The Second Secret, Wilder does a fairly comprehensive job of explaining the history leading up to the Can Spam Act and offers simple and practical advice about how to comply with the laws affecting network marketing and MLM.
But the meat of this very readable little book is contained in her three chapters on best practices for emailing, advice on headlining and her excellent section on what she calls "writing power copy."
Her treatment of social media and its impact on marketing is a little light but understandable since most major companies are still experimenting with marketing via social media.
I liked her lists, attention to the import of basic writing skills and her liberal use of experts sprinkled throughout the book. The author states that she intends the book to be read by those brand new to an online business but the information contained here applies as well to those of us who have been marketing for years.
Indeed Lorraine Hansberry's award-winning drama about the hopes and aspirations of a struggling, working-class family living on the South Side of Chicago connected profoundly with the psyche of black America--and changed American theater forever. The play's title comes from a line in Langston Hughes's poem "Harlem," which warns that a dream deferred might "dry up/like a raisin in the sun."
"The events of every passing year add resonance to A Raisin in the Sun," said The New York Times. "It is as if history is conspiring to make the play a classic." This Modern Library edition presents the fully restored, uncut version of Hansberry's landmark work with an introduction by Robert Nemiroff.
How do you prove that you are innocent of the worst case of sexual perversion against a child?
Is it possible to refute the lies of a beautiful, seemingly innocent, little girl?
When Gabe McAllister decorated former Marine and respected Texas State Trooper, walked out of his condo in west Houston on a Tuesday morning to head to a meeting of the newly formed task force of the DEA, Texas State Police, and Border Patrol, he found five Houston cops waiting to collar him for the rape of 6-year-old Annie Bridges.
His next several days and weeks are a blur as he realizes belatedly that he has no chance against his diminutive accuser, his implicit trust in the fairness of the justice system shattered, McAllister lands in the Huntsville prison, sentenced to 3 counts of 20 to life sentences.
In the sequel to The Fragrance Shed By A Violet, Lin Wilder embroils characters in another complex web of dysfunctional family, deceit, revenge and the politics of courtrooms. Pulitzer Prize reporter Kate Townsend's front page story for her newspaper, The Houston Tribune, about a juror-the foreman of McAllister's jury-stepping forward to speak about the case and her concern about why McAllister was not granted a retrial galvanizes Houstonians once again: Had a Houston jury convicted another innocent person?
Dr. Lindsey McCall, former inmate at Huntsville and now Medical Director at the Prisons and Rich Jansen, Chief Warden at the prisons are faced with the all-too-familiar question of just how involved should they get as Townsend begins to dig into the background of little Annie Bridges and her mother. When Townsend reveals the details of her new investigative series: A Nation of Law: The Dark Side, Jansen is more than intrigued.
Advanced Review http://www.selfpublishingreview.com/2015/09/do-you-solemnly-swear-by-lin-wilder/lent-
Claudia Procula--wife of one of the most controversial figures in ancient history--comes alive to twenty-first-century readers in a groundbreaking new novel by the award-winning author of the Lindsey McCall medical mystery series.
For decades, the daughter of the last Oracle at Delphi has suppressed the secrets of her birth, extensive education, and marriage to the notorious Fifth Prelate of Judea--Pontius PIlate. Now, at age seventy-nine, she feels compelled to leave behind her story for the world and set the record straight about the beginnings of modern history.
He has had his arms raised for how many hours now? Shouldn't there be a Joshua to help this Moses? I suppressed a smile at my wittiness, knowing better than to voice the thought aloud. My ladies would be shocked by my allusion to the great Jewish prophet. Well aware of my reputation as an empty-headed nitwit among those who served my husband, such low expectations had served me well. Best to maintain the fiction.
In a surprising change of genre and style, Wilder brings her extensive research and wide-ranging imagination to bear on the seminal story of our time: the passion of the Christ. The result is a compelling and harrowing love story replete with historical figures such as Seneca, Socrates, and Pilate himself. It is sure to captivate both believers and skeptics alike, and remain in readers' minds long after the last page is turned.
Margaret Edson's powerfully imagined Pulitzer Prize–winning play examines what makes life worth living through her exploration of one of existence's unifying experiences—mortality—while she also probes the vital importance of human relationships. What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, "The play is not about doctors or even about cancer. It's about kindness, but it shows arrogance. It's about compassion, but it shows insensitivity."
In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end?
The immediacy of the presentation, and the clarity and elegance of Edson's writing, make this sophisticated, multilayered play accessible to almost any interested reader.
As the play begins, Vivian Bearing, a renowned professor of English who has
spent years studying and teaching the intricate, difficult Holy Sonnets of the
seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living.
As she explains: Exactly how much of my personal life should be included in this book has been a tough decision to make. This is, after all, the story of a conversion, not an autobiography. Many of my choices, judgments, and their consequences remain painful, even humiliating to revisit, writing them down, even more so. Initially, I questioned the relevance of describing elements of my career, education and relationships with men- in short, my pre-Catholic world in detail. Since I did not convert until midlife, there are a lot of territories to cover. But I realize that my use of the term 'lost years' makes no sense unless I place them squarely in the context of the person I was then. Without the details of my early life, unpleasant as they are to recall, much less write, this sense of drifting and of aimlessness are merely words which lack substance. They are unidimensional. In talks to church groups about life with and without my faith, I frequently used 'ground' while I stomped the floor I stood on, forcefully, as I worked to convey what is gained and lost with and without faith.
Faith and all which accompanies religion like regular church attendance and a belief that there is something greater here, someone present, informs our decisions and choices, even our goals. Just so, its absence widens all boundaries. More and more is acceptable.
This, at times, brutally honest story of the reasons for Wilder's walk away from God, then years later, return, cannot fail to provoke and challenge. Her decision to reveal intimate and painful details of the life lived during the years she refers to as 'lost' will cause even the most devoutly faithful reader to take a peek at the shadows of the self we hide from the world and from ourselves.
Critique: An exceptionally candid account that is impressively well written, organized and presented, "Finding the Narrow Path: Patterns, Faith and Searching" is an inherently fascinating and consistently compelling account that is as informative and thoughtful as it is insightful and ultimately inspiring. While very highly recommended for Christian Studies reading lists, it should be noted that "Finding the Narrow Path" is also available in a Kindle format ($6.99). midwestbookreview.com/sbw/dec_16.htm#ChristianStudies
Nominee for 3 Tony Awards including Best Play
“Lynn Nottage’s best work. She offers a powerful critique of the American attitude toward class, and how it affects the decisions we make. Sweat has fraternity at its heart, but also the violence, and the suspicion that can result from class aspirations.” –Hilton Als, New Yorker
Lynn Nottage has written one of her most exquisitely devastating tragedies to date. In one of the poorest cities in America, Reading, Pennsylvania, a group of down-and-out factory workers struggle to keep their present lives in balance, ignorant of the financial devastation looming in their near future. Based on Nottage’s extensive research and interviews with residents of Reading, Sweat is a topical reflection of the present and poignant outcome of America’s economic decline.
Lynn Nottage is the recipient of two Pulitzer Prize Awards for Drama for Sweat and Ruined. She is the first woman playwright to be honored twice. Her other plays include Intimate Apparel; By the Way, Meet Vera Stark; Fabulation, or the Re-Education of Undine; Crumbs from the Table of Joy; and Las Meninas.
Intimate Apparel: “Thoughtful, affecting new play . . . with seamless elegance.”—Charles Isherwood, Variety
Fabulation: “Robustly entertaining comedy . . . with punchy social insights and the firecracker snap of unexpected humor.”—Ben Brantley, The New York Times
With her two latest plays, “exceptionally gifted playwright” (New York Observer) Lynn Nottage has created companion pieces that span 100 years in the lives of African American women. Intimate Apparel is about the empowerment of Esther, a proud and shy seamstress in 1905 New York who creates exquisite lingerie for both Fifth Avenue boudoirs and Tenderloin bordellos. In Fabulation Nottage re-imagines Esther as Undine, the PR-diva of today, who spirals down from her swanky Manhattan office to her roots back in Brooklyn. Through opposite journeys, Esther and Undine achieve the same satisfying end, one of self-discovery.
Lynn Nottage’s plays include Crumbs from the Table of Joy; Mud, River, Stone; Por’ Knockers; Las Menias; Fabulation and Intimate Apparel, for which she was awarded the Francesca Primus Prize and the American Theatre Critics/Steinberg New Play Award in 2004. Her plays have been produced at theatres throughout the country, with Intimate Apparel slated for 16 productions during the 2005–2006 season.
It’s been more than twenty years since Eve Ensler’s international sensation The Vagina Monologues gave birth to V-Day, the radical, global grassroots movement to end violence against women and girls. This special edition features six never-before-published monologues, a new foreword by National Book Award winner Jacqueline Woodson, a new introduction by the author, and a new afterword by One Billion Rising director Monique Wilson on the stage phenomenon’s global impact. Witty and irreverent, compassionate and wise, this award-winning masterpiece gives voice to real women’s deepest fantasies, fears, anger, and pleasure, and calls for a world where all women are safe, equal, free, and alive in their bodies.
Praise for The Vagina Monologues
“Probably the most important piece of political theater of the last decade.”—The New York Times
“This play changed the world. Seeing it changed my soul. Performing in it changed my life. I am forever indebted to Eve Ensler and the transformative legacy of this play.”—Kerry Washington
“Spellbinding, funny, and almost unbearably moving . . . both a work of art and an incisive piece of cultural history, a poem and a polemic, a performance and a balm and a benediction.”—Variety
“Often wrenching, frequently riotous. . . . Ensler is an impassioned wit.”—Los Angeles Times
“Extraordinary . . . a compelling rhapsody of the female essence.”—Chicago Tribune
Suzan-Lori Parks is the author of numerous plays, including In the Blood and Venus. She is currently head of the A.S.K. Theater Projects Writing for Performance Program at the California Institute of the Arts in Valencia.
I’ve spent my entire life avoiding trouble, unlike my brother Butcher. But when Cason O’Connor kidnaps me, I’m shocked that I’m now being used as a pawn for my brother’s crimes. I should hate my captor, but I don’t. I hunger for his touch, I crave his intensity, I feel alive for the first time in my life. Will he be willing to abandon his plot for revenge or will I be nothing but payback?
The plan is simple—kidnap Holly Brannon, baby sister of the man who shot mine. Revenge should be sweet. I’ll torture the only person he loves. Instead, I’m the one being tortured by this fiery redhead with incredible curves. I’m obsessed with her. Now I must choose between making Butcher pay for his crimes and my desire to possess Holly, no matter the consequence. She was my victim—now she’s my woman. And I’ll never let her go.
Warning: This is a bad boy romance with dark themes. It is over-the-top sexy with all the dirty sweetness you’ve come to expect from an Alexx Andria read.
Keywords: books-by, romance-by, bad boy, college, new adult, explicit, vengeance, dark romance, captive, forced seduction, strong alpha hero, anti-hero, happily-ever-after, red-hot-read, good girl, opposites attract, enemies-to-lovers, revenge, first time lover, strong female lead, romantic suspense, thriller
Winner of the 2018 Pulitzer Prize for Drama, Cost of Living deftly challenges the typical perceptions of those living with disabilities and delves deep into the ways class, race, nationality, and wealth can create gulfs between people, even as they long for the ability to connect. Eddie, an unemployed truck driver, and his estranged ex-wife, Ani, find themselves unexpectedly reunited after a terrible accident leaves her quadriplegic. John, a brilliant PhD student with cerebral palsy, hires Jess, a first-generation recent graduate who has fallen on desperate times, as his new aide.
“The Clean House is not, by any means, a traditional boy-meets-girl story. In fact disease, death, and dirt are among the subjects it addresses. This comedy is romantic, deeply so, but in the more arcane sense of the word: visionary, tinged with fantasy, extravagant in feeling, maybe a little nuts.”—The New York Times
“Touching, inventive, invigoratingly compact, and luminously liquid, Eurydice reframes the ancient myth of ill-fated love to focus not on the bereaved musician but on his dead bride—and on her struggle with love beyond the grave.”—San Francisco Chronicle
This volume is the first publication of Sarah Ruhl, “a playwright with a unique comic voice, perspective, and sense of theater” (Variety), who is fast leaving her mark on the American stage. In the award-winning Clean House—a play of uncommon romance and uncommon comedy—a maid who hates cleaning dreams about creating the perfect joke, while a doctor who treats cancer leaves his heart inside one of his patients. This volume also includes Eurydice, Ruhl’s reinvention of the tragic Greek tale of love and loss, together with a third play still to be named.
Sarah Ruhl received the prestigious Susan Smith Blackburn Prize in 2004 for her play The Clean House, which has been produced at Yale Repertory Theatre in New Haven, Wilma Theatre in Philadelphia, South Coast Repertory Theatre in Costa Mesa, and Woolly Mammoth Theatre Company in Washington, DC. Her play Eurydice has been produced at Madison Repertory Theatre and Berkeley Repertory Theatre.
From Quiara Alegría Hudes, the Pulitzer Prize-winning author of Water by the Spoonful, comes this companion play, itself a Pulitzer finalist.
In a crumbling urban lot that has been converted into a verdant sanctuary, a young Marine comes to terms with his father's service in Vietnam as he decides whether to leave for a second tour of duty in Iraq.
Melding a poetic dreamscape with a stream-of-consciousness narrative, Elliot, A Soldier's Fugue takes us on an unforgettable journey across time and generations, lyrically tracing the legacy of war on a single Puerto Rican family.
Elliot, A Soldier's Fugue, a finalist for the 2007 Pulitzer Prize, is the first installment in a trilogy of plays that follow Elliot's return from Iraq. The second play, Water by the Spoonful, received the 2012 Pulitzer Prize and will be published by Theatre Communications Group concurrently with Elliot, A Soldier's Fugue. The trilogy's final play, The Happiest Song Plays Last, premiered in April 2012 at Chicago's renowned The Goodman Theatre.
New York City attorney Sara Klein has created a perfect world for herself with her beautiful lies. A world in which she is the object of every man's fantasies and the envy of every woman. Only one man knows the truth about the dark secret Sara is hiding, the only man she's ever loved and can never have.
But Sara's world of lies starts to unravel the day sexy British heir William "Liam" Knight storms into her life. He's seeking revenge and answers for past betrayals, and will use anyone he can to get them.
An unlikely friendship between two lonely hearts seeking solace turns into love that will shatter a lifetime of lies, span two continents, and leave Sara facing the whole truth and nothing but the truth, so help her God.
LIES IN REWIND is the second book in the Audio Fools series that follows the love lives of two best friends, Emily and Sara. This novel could be enjoyed as a standalone, however, it is highly recommended to first read and meet these characters inside the pages of LOVE IN REWIND (Book one) prior to reading this book, for a more complete experience.
WINNER, BEACH BOOK AWARD: Spiritual
FINALIST, Next Generation Indie Book Awards: New Age
FINALIST, READERS FAVORITE AWARD: Women's Fiction
HONORABLE MENTION, NEW ENGLAND FILM FESTIVAL: Spirituality
One woman's plight with illness, her daughter's will to survive, and a circle of friends shrouded in secrets.
"Megan's Way...beautiful and tender portrayals...very enjoyable read on the order of a Jodi Picoult novel. " --The Bookish Dame
What would you give up for the people you love?
When Megan Taylor, a single mother and artist living on Cape Cod, receives the shocking news that her cancer has returned, she's faced with the most difficult decision she's ever had to make. The love she has for her daughter, Olivia, and her closest friends will be stretched and frayed.
Megan's illness reawakens her best friend, Holly Townsend's, torment of a long-held secret and years of betrayal. How does one choose between a daughter and a life-long best friend? Can the secret she has been keeping be revealed after years of lying without destroying everyone in its wake?
Meanwhile, fourteen-year-old Olivia's world is falling apart right before her eyes, and there's nothing she can do about it. She finds herself acting in ways she cannot even begin to understand. When her internal struggles turn to dangerous behavior, even the paranormal connection she shares with her mother might not be enough to save her - her life will hang in the balance.
Megan's Way is a journey of self discovery and heartfelt emotions, exploring the depth of the mother-daughter bond, and the intricacies of friendship.
***Olivia's story will be continued in LOVING LIVI, Harborside Nights new adult romance series. Sign up for Melissa's newsletter and follow her on her author page here on Amazon to be notified of this release!
NEW YORK TIMES and USA TODAY BESTSELLING AUTHOR
Melissa Foster is a New York Times & USA Today bestselling and award-winning author. She writes sexy and heartwarming contemporary romance, new adult romance, and women's fiction with emotionally compelling characters that stay with you long after you turn the last page. Melissa's emotional journeys are lovingly erotic and always family oriented. Melissa loves to chat with book clubs and readers, invite her to your next event.
Mari Jones is an itch under my skin that I can’t satisfy. The sassy, long-legged cocktail waitress is everything I shouldn’t want. Smart-mouthed, take-no-shit, sexy-as-hell, and the worst thing I could throw into my life but I want her.
The thing is…I’ve always wanted her.
She doesn’t remember me but I’ve never forgotten her.
And now I’m going to put her into my bed.
Don’t get me wrong — I’m not about forever — I see what I want and I find a way to get it but it’s always a temporary fix.
No amount of money in the world can fix what’s broken inside me — and I should know, I’m fucking loaded — so don’t even try.
I’m damaged. Broken to the core.
If she catches feelings, I’m going to ruin her.
Even though I know I should walk, I can’t.
She’s everything I ever wanted…everything I will never deserve to have.
Right or wrong…she’s mine.
**Author's Note: This is a full-length novel at 40,000 words. It's everything you've come to expect in an Alexx Andria read — hot sex, witty banter, and dark angst — if that sounds like your thing, feel free to one-click this bad boy billionaire and settle in for a deliciously wicked and entertaining time. Oh, and fans of Alexx's Buchanan series...you might just recognize a character or two. Enjoy!
Keywords: billionaire, romance series, bad boy, indecent proposal, secrets and lies, deception, redemption, strong heroine, fiction, instant attraction, explicit romance, alpha hero, strong female lead, revenge, opposites attract
“I want you, Mari,” Gage stated, leaning back, kicking his leg out casually beneath the scratched and ruined table. “Name your price.”
“N-name my price?” I stuttered, incredulous. “What does that mean? And what makes you think I even have a price that I would offer? I’m not a vendor at a flea market, ready to haggle over an item…especially when that item is me.”
His smirk did crazy things to my belly even as his answer pissed me off fresh. “Everyone has a price. Even you. I'm willing to bet your price is a lot lower than you think it would be.”
Oh, hell no, what? “Did you just insult me?”
“Not at all. Just sharing a bit of what I know about human nature.”
“Well, you don’t know shit about me,” I said, rising. “I’m done with this ridiculous game. I don’t care how rich you are, you can’t buy me.”
Screw Manny and his greed. He could find someone else to pander to the rich jerk, I was out.
“You’re broke. You’ll be homeless by the end of the month because you can’t pay your rent and something tells me you aren’t going to make enough in tips to get what you need by month’s end.”
His calm voice at my back froze my feet. I turned slowly. “How the hell do you know my personal business?”
He waved away my question as if I were naive. “Nothing is private, sweetheart. I can get everything I need to know about you with the push of a button. Financial records are the easiest.” He paused only to punctuate his point. “Is my intel wrong? Do you have a secret stash of cash in your mattress that you’re holding onto for a rainy day?”
No, he wasn't wrong — Gage knew how precarious my situation was and he had zero qualms about using the information to his advantage.
Indignation aside...could I afford to refuse his offer?
Damn him, he knew I couldn't.
"Lynn Nottage's work explores depths of humanness, the overlapping complexities of race, gender, culture and history—and the startling simplicity of desire—with a clear tenderness, with humor, with compassion."—Paula Vogel, Pulitzer Prize–winning playwright
In her first new play since the critically acclaimed Ruined, Lynn Nottage examines the legacy of African Americans in Hollywood in a dramatic stylistic departure from her previous work. Fluidly incorporating film and video elements into her writing for the first time, Nottage's comedy tells the story of Vera Stark, an African American maid and budding actress who has a tangled relationship with her boss, a white Hollywood star desperately grasping to hold onto her career. Stirring audiences out of complacency by tackling racial stereotyping in the entertainment industry, Nottage highlights the paradox of black actors in 1930s Hollywood while jumping back and forward in time and location in this uniquely theatrical narrative. By the Way, Meet Vera Stark premiered in New York in 2011 and will receive productions at Los Angeles's Geffen Playhouse in fall 2012 and Chicago's Goodman Theatre and The Lyric Stage Company of Boston in spring 2013.
Lynn Nottage's plays include the Pulitzer Prize–winning Ruined; Intimate ApparelFabulation, or the Re-Education of Undine; Crumbs from the Table of Joy; Las Meninas; Mud, River, Stone; Por'Knockers; and POOF!
"Masterly... Among the new crop of young American playwrights, Herzog is in a class by herself." - Richard Zoglin, Time
Abby and Zack, young American newlyweds, have abandoned a comfortable postgraduate life in the states for Belleville, a bustling, bohemian, multicultural Parisian neighborhood. But as secrets both minor and monumental are revealed, their fraught relationship begins to unravel. Belleville examines the limits of trust and dependency in a world where love can turn pathological and our most intimate relationships may not be what they seem.
AMY HERZOG’s plays include 4,000 Miles (Pulitzer Prize finalist), After the Revolution and The Great God Pan. Ms. Herzog is the recipient of numerous awards, including the Whiting Writers’ Award, an Obie Award and the Helen Merrill Award for Aspiring Playwrights.
With profound compassion and lyricism, Morisseau brings us a powerful play that delves into the urgent issue of the “school-to-prison” pipeline that ensnares people of color. Issues of class, race, parenting, and education in America are brought to the frontlines, as we are left to question the systematic structures that ultimately trap underserved communities.
In this dramatic adaptation of her award-winning, bestselling memoir (which Michiko Kakutani in The New York Times called “an indelible portrait of loss and grief . . . a haunting portrait of a four-decade-long marriage), Joan Didion transforms the story of the sudden and unexpected loss of her husband and their only daughter into a stunning and powerful one-woman play.
The first theatrical production of The Year of Magical Thinking opened at the Booth Theatre on March 29, 2007, starring Vanessa Redgrave and directed by David Hare.
"A funny, moving new play . . . 4,000 Miles is a quiet meditation on mortality. But it's hardly a downer: Ms. Herzog's altogether wonderful drama also illuminates how companionship can make life meaningful, moment by moment, in death's discomforting shadow."—The New York Times
Known for delicately detailed character studies that subtly balance humor and insight, Amy Herzog is swiftly emerging as a striking new voice in the American theater. After the Revolution, an astute and ironic drama about how society appropriates history for its own psychological needs, was heralded by The New York Times as one of the Ten Best New Plays of 2010. Herzog's other critical hit, 4,000 Miles, is a quiet rumination on mortality in which twenty-one-year-old Leo seeks solace from his feisty ninety-one-year-old grandmother Vera in her New York apartment.
Amy Herzog received the 2011 Whiting Writers' Award and the 2008 Helen Merrill Award for Aspiring Playwrights. Her plays have been produced or developed at the Yale School of Drama, Ensemble Studio Theater, Arena Stage, Lincoln Center, The Actors Theatre of Louisville, New York Stage and Film, Provincetown Playhouse, and ACT in San Francisco. Her newest play, Belleville, premiered at Yale Rep in fall 2011.
“Superbly realized…Indecent, the powerful play by Paula Vogel, sheds an eye-opening light on a little-known time when theatrical history, Jewish culture, and the frank depiction of homosexuality intersected, with explosive results.” —New York Times
“Gorgeous. Illuminating and heartbreaking. Rich in sympathy and humor, Indecent has the scope of an epic but the intimacy of a chamber piece…It celebrates and illustrates the power of theater.” —Time Out New York
“A moving and fascinating play…A singular achievement… The historical perspective is vast and knowing…Has there ever been anything quite like Indecent, a play that touches—I mean deeply touches—so much rich emotion about history and the theater, anti-Semitism, homophobia, censorship, world wars, red-baiting, and oh, yes, joyful human passion?...An extraordinary play.” —Newsday
“Indecent is more than a play about forbidden love: It’s about theater as a life force.” —New York Post
When Sholem Asch wrote God of Vengeance in 1907, he didn’t imagine the height of controversy the play would eventually reach. Performing at first in Yiddish and German, the play’s subject matter wasn’t deemed contentious until it was produced in English, when the American audiences were scandalized by the onstage depiction of an amorous affair between two women. Paula Vogel’s newest work traces the trajectory of the show’s success through its tour in Europe to its abrupt and explosive demise on Broadway in 1923—including the arrest of the entire production’s cast and crew.
Paula Vogel is the Pulitzer Prize–winning author of How I Learned to Drive. Her other plays include Don Juan Comes Home from Iraq, A Civil War Christmas, The Long Christmas Ride Home, and The Baltimore Waltz, among others. She has also had a distinguished career as a teacher and mentor to younger playwrights, first at Brown University and then at the Yale School of Drama.
Paralyzed by grief and unable to put his thoughts into words, Nick, a fire captain, seeks out the help of a writer to compose eulogies for the colleagues and friends he lost in the catastrophic events of September 11, 2001. As Joan, an editor by trade, draws Nick out about “the guys,” powerful profiles emerge, revealing vivid personalities and the substance and meaning that lie beneath the surface of seemingly unremarkable people. As the individual talents and enthusiasms of the people within the small firehouse community are realized, we come to understand the uniqueness and value of what each person has to contribute. And Nick and Joan, two people who under normal circumstances never would have met, jump the well-defined tracks of their own lives, and so learn about themselves, about life, and about the healing power of human connection, through talking about the guys.
Charlotte police officer Jordan Monroe is used to being in control. Ever since his father died, he has provided for his mother and sisters and even hired his two brothers-in-law to help run his successful construction company. On a chance business trip, however, he meets the one person who throws his life into a whirlwind--Jaynee.
Jaynee has lived a tragic life and has sworn off all men. That is until a rugged southern gentleman lands in her seating area, refusing to take no for an answer. From the moment they meet, Jordan sweeps her off her feet, assuring her that happiness exists. But can she really escape her past?
Five years later, Jordan finds Jaynee on their back porch with a gunshot wound to the head. While Jaynee lies in a coma, Jordan has to go back to their beginning and figure out what went wrong. Did he push his wife to the edge, or has her past come back to haunt them?
Although She Belongs to Me is part of The Southern Collection, it is a stand-alone story that can be read on its own. This is a cliffhanger-free zone here, friends!
“The plan was that no matter what I did, how busy I was, what other commitments I had, I would write a play a day, every single day for a year. It would be about being present and being committed to the artistic process every single day, regardless of the ‘weather.’ It became a daily meditation, a daily prayer celebrating the rich and strange process of a writing life.”—Suzan-Lori Parks
On November 13, 2002, the incomparable Suzan-Lori Parks got an idea to write a play every day for a year. She began that very day, finishing one year later. The result is an extraordinary testament to artistic commitment. This collection of 365 impeccably crafted pieces, each with its own distinctive characters and dramatic power, is a complete work by an artist responding to her world, each and every day. Parks is one of the American theater’s most wily and innovative writers, and her “stark but poetic language and fiercely idiosyncratic images transform her work into something haunting and marvelous” (TIME).
Armed with medicines, feeding tubes, and various medical equipment, Mary Jane is a single mother and indefatigable force when it comes to caring for her young, sick child. A moving play about the stalwart endurance of a devoted mother, Mary Jane demonstrates the prevailing strength of the human will when fueled by unconditional love.
Blessed with spiritual wisdom and a high IQ, Prozac is an active pet therapy dog. To heal broken-hearted Meredith, he rallies his fan club at Evergreen Gardens, an independent living facility, where he visits each week.Prozac and the community of resilient older folks challenged by losses of their own propel Meredith, often against her will, back into the land of the living. Meredith learns that most people carry some sort of burden, but it's still possible to find meaning, purpose, and joy—and sometimes, even love—along the way.
“Lee is a facetious provocateur; she does whatever she can to get under our skins—with laughs and with raw, brutal talk . . . [and with] so ingenious a twist, such a radical bit of theatrical smoke and mirrors, that we are forced to confront our own preconceived notions of race.”—Hilton Als, The New Yorker
With The Shipment, her latest work taking on identity politics, Young Jean Lee “confirms herself as one of the best experimental playwrights in America” (Time Out New York). The Korean American theater artist has taken on cultural images of black America, in a play that begins with sketches of African American clichés—an angry, foul-mouthed comedian; an aspiring young rapper who ends up in prison—and ends with a seemingly naturalistic parlor comedy, which slyly reveals the larger game Lee is playing, leaving us to consider the many ways that we see the world through a racial lens.
Young Jean Lee is a playwright, director, and artistic director of her own OBIE Award-winning theater company, which as been producing her plays since 2003. Her other works include Songs of Dragons Flying to Heaven, Church, The Appeal, and Pullman, WA, and they have been produced across the country and internationally.
Fresh from its critically acclaimed off-off-Broadway run this past spring, God's Ear moves off-Broadway to the Vineyard Theatre in April 2008.
“Quirky, disturbing, and inexplicably beautiful theatrical poetry.” – Cary M. Mazer, Philadelphia City Paper
“Congdon writes like a woman possessed.” – Nels Nelson, New York Daily News
An immensely inventive and challenging writer, Constance Congdon is one of America’s finest playwrights, endowed with great compassion, keen insight and an unfailing comic sensibility. Throughout the plays in her first collection, she demonstrates a range rare in writers in any age, from a somber meditation on life in the postnuclear age (No Mercy) to madcap social satire (Losing Father’s Body), from an epic historical exploration of love and sexual identity (Casanova) to her most popular play to date (Tales of the Lost Formicans), acclaimed by William A. Henry III of Time magazine as “A travel guide to Middle America conducted by aliens from outer space… If not the best new play of recent years, surely the most imaginative.”
Constance Congdon’s plays have been produced throughout the United States and abroad. She has received playwriting fellowships from the National Endowment for the Arts and the Rockefeller and Guggenheim foundations, and is the winner of Oppenheimer/Newsday, W. Alton Jones and L/ Arnold Weissberger awards. Congdon, an alumna of New Dramatists, currently teaches playwriting at Amherst College.
This is the dilemma facing Theresa Bedell, a reporter in New York, in Rebecca Gilman's tensely fascinating new play. When Theresa goes on an awkward blind date with a friend of a friend, she sees no reason to continue the relationship--but the man, an attractive fellow named Tony, thinks otherwise. While Theresa is at first annoyed yet flattered by his continuing attention, her attitude gradually changes to one of fear and fury when he starts violently to menace her and those around her.
In brilliantly delineating the kind of terror a woman in full control of her life feels when everything around her suddenly seems to be a threat, Gilman probes the dark side of relationships in the 1990s with the rich insight and compelling characterizations that have distinguished her earlier plays and made her one of the most exciting young playwrights working today.