"Marked by the aching articulation, scathing wit and deep convictions of a mature artist with a complete vision."--Frank Rich, The New York Times "If Arthur Miller had married Noel Coward, their son would have been Robbie Baitz." --André Bishop, from the Preface Jon Rubin Baitz startled the theatrical world with the 1985 debut of The Film Society. A frank examination of the controlling forces behind a nearly bankrupt private school for boys in South Africa, The Film Society introduced a young playwright with an extraordinarily mature grasp of people, language and society. Baitz's recent works have fulfilled his early promise and enhanced his reputation. In The Substance of Fire (1991), a fiercely intellectual New York publisher struggles with his children for control of his business, and with the relentless pride which has made him previous to love. In The End of the Day (1992), an expatriate British doctor adapts to America by abandoning his ideals and succumbing to the twin lures of status and crime. About the Author: Jon Robin Baitz is the author of Three Hotels, The Film Society, Other Desert Cities, The End of the Day, and The Substance of Fire, which he adapted into a major motion picture. He was the showrunner on ABC’s Brothers & Sisters. He also wrote the screenplay for the upcoming film Stonewall directed by Roland Emmerich. He lives in New York.

Full Length, Drama Characters: 3 male, 2 female 2 Interior Sets Isaac Geldhart, the imperious scion of a family owned publishing house, is under siege. A takeover is being engineered by his son Aaron, who sees the firm's profitability steadily declining and wants to publish a trashy novel to bring in the bucks. Isaac plans to go on publishing scholarly works such as a multi volume history of Nazi medical experiments. Aaron has the necessary yen from Japanese backers but he ne

Audition monologues for male characters selected from recent works by American playwrights including Tony Kushner, Jon Robin Baitz, Constance Congdon, Paula Vogel, Donald Margulies, Emily Mann, Eric Bogosian, Nicky Silver, and others. Unique to the TCG monologue series is a bibliography of other works by the playwrights included.

In Playing With Fire, Theo Fleury takes us behind the bench during his glorious days as an NHL player, and talks about growing up devastatingly poor and in chaos at home. Dark personal issues began to surface, and drinking, drugs, gambling, and girls ultimately derailed a career that had him destined for the Hall of Fame. Fleury shares all in this raw, captivating, and honest look at the previously untold story of one the game's greatest heroes.

The tranquility of Mars is disrupted by humans who want to conquer space, colonize the planet, and escape a doomed Earth.

Features a comprehensive guide to American dramatic literature, from its origins in the early days of the nation to the groundbreaking works of today's best writers.

These 15 interviews illustrate the diversity of modern American theater and examine what makes it a unique art form. Savran (English, Brown U.) discusses the work, artistic influences, and the state of contemporary American theater and its meaning and purpose with artists including Tony Kushner, Jose Rivera, Ntozake Shange, and Anna Deveare Smith. Annotation copyrighted by Book News, Inc., Portland, OR

THE STORY: Brooke Wyeth returns home to Palm Springs after a six-year absence to celebrate Christmas with her parents, her brother, and her aunt. Brooke announces that she is about to publish a memoir dredging up a pivotal and tragic event in the f

This book refutes the claim that tragedy is no longer a vital and relevant part of contemporary American theatre. Tragedy in the Contemporary American Theatre examines plays by multiple contemporary playwrights and compares them alongside the works of America’s major twentieth-century tragedians: Eugene O’Neill, Arthur Miller, and Tennessee Williams. The book argues that tragedy is not only present in contemporary American theatre, but issues from an expectation fundamental to American culture: the pressure on characters to create themselves. Tragedy in the Contemporary American Theatre concludes that tragedy is vital and relevant, though not always in the Aristotelian model, the standard for traditional evaluation.