Age of Arousal is a lavish, sexy, frenetic ensemble piece about the forbidden and gloriously liberated self – genre-busting, rule-bending, and ambitiously original.
Playwright/actor Linda Griffiths is the winner of five Dora Mavor Moore Awards, a Gemini award, two Chalmer's awards, the Quizanne International Festival Award and Los Angeles's A.G.A. Award for her title performance in the John Sayles film ""Lianna,"" Her twelve plays include ""Chronic,"" ""Alien Creature,"" ""The Duchess: a.k.a Wallis Simpson,"" and ""Maggie & Pierre,""
Finalist for the 2012 Governor General's Award for Drama
Penelope Douglas is an ex–forensic psychiatrist looking for a fresh start in a western boomtown grown three sizes too crazy. But then a television writer offs himself in her sleek bathroom and her oil-wife friend pronounces Penelope her baby's godmother. Will she be able to find heart in this wild and soulless landscape? Will she have to smudge her lipstick to "cowboy up"? Drama, a new play by the master of edgy dark humor, has all the answers.
Karen Hines is the author of Hello . . . Hello (A Romantic Satire) and The Pochsy Plays. A Second City alumna, Hines has appeared in numerous television and film productions and is the director of cult horror clowns Mump & Smoot.
Just when you thought you were alone, you thought wrong!
Trina secretly throws a big house party at her parents' six bedroom home while they are out of town. Things at the party are fired up, with partygoers stretched from wall to wall, until the party comes to an abrupt end. Trina believes that everyone has left for the night, but she soon discovers that not everyone has left her home.
There is someone still there.
Her life takes a deadly turn, putting her at odds with a deranged stranger who just won't leave her house or her alone!
Next, read I THOUGHT I WAS ALONE 2!
keywords: african american books, urban, african american romance, street lit, urban fiction, african american fiction, urban books, urban street fiction, urban african american
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.