Feuding theatre critics Moon and Birdfoot, the first a fusty philanderer and the second a pompous and vindictive second stringer, are swept into the whodunit they are viewing. In the hilarious spoof of Agatha Christie-like melodramas that follows, the body under the sofa proves to be the missing first string critic. As mists rise about isolated Muldoon Manor, Moon and Birdfoot become dangerously implicated in the lethal activities of an escaped madman.

Feuding theatre critics Moon and Birdfoot, the first a fusty philanderer and the second a pompous and vindictive second stringer, are swept into the whodunit they are viewing. In the hilarious spoof of Agatha Christie-like melodramas that follows, the body under the sofa proves to be the missing first string critic. As mists rise about isolated Muldoon Manor, Moon and Birdfoot become dangerously implicated in the lethal activities of an escaped madman.-- from publisher's website.

Harris, his mother and his wife are a kooky trio. Enter the forceful inspector from Scotland Yard with his constable - which is strange, notes the wife, for she had ordered an ambulance. The officers proceed to place the three under arrest. It is not clear why; something about a parked car, a bunch of .22 caliber shells in the waste basket, and a robbery of the box office of a minstrel show. But Harris has an explanation: he had parked near an art gallery to let his mother see some paintings by Magritte in which her obsessional instrument, the tuba, figured grandly. But then it develops that there was no minstrel show at all, and the plot goes haywire. Performed in New York with The Real Inspector Hound.

Tom Stoppard is justly famous for his innovative theatrical techniques. Daniel Jernigan argues that while much of Tom Stoppard's early work (Rosencrantz and Guildenstern Are Dead and The Real Inspector Hound, for instance) is postmodern, the remainder of his career essentially tracks backward from there--becoming "late modernist" in the 1970s (Travesties) and fully modernist in the 80s and 90s (The Real Thing and Arcadia). This pattern also makes sense of Stoppard's recent and uncharacteristic foray into dramatic realism with The Coast of Utopia (2002) and Rock 'n' Roll (2006), at which point the playwright seems to embrace the more straightforward rhetorical advantages of literary realism.

Companion to the work of playwright Tom Stoppard who also co-authored screenplay of Shakespeare in Love.

Poetry, scholarship, and love are entwined in Tom Stoppard's new play about A.E. Housman, which "Variety" has called "vintage Stoppard in its intelligence and wit". "Stoppard is at the top of form. . . . "The Invention of Love" does not just make you think, it also makes you feel".--"Daily Telegraph".

"... The author continues his association with Hamlet by taking the most famous and best loved lines from Shakespeare's play and condensing them into a hilarious thirteen minute version. This miraculous feat is followed by an encore which consists of a two-minute version of the play! The vast multitude of characters are played by six actors with hectic doubling, and the action takes place at a shortened version of Elshore Castle."--Publisher description.

Above all don’t use the word good as though it meant something in evolutionary science. The Hard Problem is a tour de force, exploring fundamental questions of how we experience the world, as well as telling the moving story of a young woman whose struggle for understanding her own life and the lives of others leads her to question the deeply held beliefs of those around her. Hilary, a young psychology researcher at the Krohl Institute for Brain Science, is nursing a private sorrow and a troubling question. She and other researchers at the institute are grappling with what science calls the “hard problem”—if there is nothing but matter, what is consciousness? What Hilary discovers puts her fundamentally at odds with her colleagues, who include her first mentor and one-time lover, Spike; her boss, Leo; and the billionaire founder of the institute, Jerry. Hilary needs a miracle, and she is prepared to pray for one.

Every Good Boy Deserves Favour A dissident is locked up in an asylum. If he accepts that he was ill and has been cured, he will be released. He refuses. Sharing his cell is a real lunatic who believes himself to be surrounded by an orchestra. As the dissident's son begs his father to free himself with a lie, Tom Stoppard's darkly funny and provocative play asks if denying the truth is a price worth paying for liberty. 'Plays which enhance civilization itself, which is what this does, are not seen once and laid away.' Bernard Levin, Sunday Times Every Good Boy premiered at the Festival Hall, London, in July 1977. It was revived at the National Theatre, London, in January 2009. Professional Foul 'Professor Anderson, a somewhat devious academic, went to Prague to deliver a lecture on "Ethical Facts in Ethical Fiction" and to see a football match. Politics intruded when a former pupil of Anderson begged him to smuggle out a thesis arguing that "the ethics of the State can only be the ethics of the individual writ large." . . . Mr Stoppard's BBC television debut was sheer delight.' Richard Last, Daily Telegraph