Two plays exploring the struggle of mental illness by the Tony Award–winning “giant of American theater” and author of Hurlyburly (Chicago Tribune). Good for Otto, which premiered in October 2015 at the Gift Theatre in Chicago, is a “sprawling drama of mental illness” in which “Mr. Rabe digs into his subject with a depth that almost feels bottomless.” Drawing on material from Undoing Depression by psychotherapist Richard O’Connor, it explores the lives of a therapist and his many patients, all trying to navigate personal trauma (Charles Isherwood, The New York Times). Visiting Edna, which premiered in September 2016 at the Steppenwolf Theatre in Chicago, is a drama of “deeply searing power” about the bond between mother and son. As Edna faces a short future plagued by her many illnesses—and a cancer that looms so large it becomes another character—she and her adult son struggle to communicate about their shared past as they contemplate the future (Variety). Taken together, the plays offer a satisfying glimpse into “Rabe’s theatrical universe . . . at once vivid and mysterious, a pageant and a puzzle” of contemporary American life (John Lahr, The New Yorker). “Many would list [Rabe] among the very greatest of living playwrights.” —Chris Jones, Chicago Tribune

Good for Otto, which premiered in October 2015 at the Gift Theatre in Chicago, directed by Michael Patrick Thornton, is an unflinching portrayal of the world of mental illness and therapy. Drawing on material from Undoing Depression by Connecticut psychotherapist Richard O'Connor, it is a deeply moving look into the life of a number of patients trying to navigate personal trauma, including a profoundly troubled young girl, and one therapist, Dr. Michaels, who makes great efforts to help them, but is haunted by his own demons, and stymied by the financial obstacles of the American healthcare system. Visiting Edna, which premiered in September 2016 at the Steppenwolf Theatre in Chicago, directed by Anna D. Shapiro, is a stylistically dazzling exploration of the bond between mother and son. As Edna, a woman in the last years of her life, faces a short future plagued by her many illnesses, from diabetes to arthritis to cancer, she maintains the emotional distance she has kept from her son Andrew since he became an adult, and they both struggle to communicate about their shared past as they contemplate the future. Taken together, the plays form a startling and thought-provoking vision of American society and cement Rabe's place in the upper echelons of the canon of contemporary theater.

The play centres on a British couple, Bri and Sheila, who are struggling to save their marriage whilst trying to raise their only child, a small girl named Josephine, who has cerebral palsy. She uses a wheelchair and is nonverbal, which her parents see as unable to communicate. Caring for her has occupied nearly every moment of her parents' lives since her birth, taking a heavy toll on their marriage. Sheila gives Josephine as much of a life as she can, while Bri wants the child institutionalised and has begun to entertain chilling fantasies of killing himself and Josephine.

A psychologist tries to keep the health center he runs in rural Connecticut afloat, battling insurance companies and his own demons, while ministering to the distressed souls who find their way to his door.

In these disquieting tales of confronting the past, the author and playwright showcases his “keen ear for how people talk, think, and behave” (Publishers Weekly). Listening for Ghosts collects some of David Rabe’s most compelling short fiction of the past few years, including three stories that appeared in the New Yorker. In “Things We Worried About When I Was Ten,” a group of seemingly carefree Midwestern boys are revealed to be egregiously uncared for by their parents. “The Longer Grief” is a slow-motion explosion, as one moment in time propels shards of reckoning through the shared history of a brother and sister. In “Uncle Jim Called,” a man cooking stir fry answers a phone call from the dead . “Suffocation Theory” slyly depicts our off-kilter and increasingly apocalyptic world. In the novella, I Have to Tell You, the elderly tenants of a Midwestern apartment complex seek fairness from a conniving landlord. When an emergency stay in the hospital brings a near-octogenarian named Emma face-to-face with looming injustice, she finds herself burdened with two mysteries to solve. She may never get to the bottom of them, but she is determined to do all she can. Also included are “Things We Worried About When I Was Ten,” which won the 2021 O. Henry Prize, and “The Longer Grief,” which won first prize in the 2019 Narrative Story Contest.

Historical Dictionary of Contemporary American Theater. Second Edition covers theatrical practice and practitioners as well as the dramatic literature of the United States of America from 1930 to the present. The 90 years covered by this volume features the triumph of Broadway as the center of American drama from 1930 to the early 1960s through a Golden Age exemplified by the plays of Eugene O’Neill, Elmer Rice, Thornton Wilder, Lillian Hellman, Tennessee Williams, Arthur Miller, William Inge, Lorraine Hansberry, and Edward Albee, among others. The impact of the previous modernist era contributed greatly to this period of prodigious creativity on American stages. This volume will continue through an exploration of the decline of Broadway as the center of U.S. theater in the 1960s and the evolution of regional theaters, as well as fringe and university theaters that spawned a second Golden Age at the millennium that produced another – and significantly more diverse – generation of significant dramatists including such figures as Sam Shepard, David Mamet, Maria Irené Fornes, Beth Henley, Terrence McNally, Tony Kushner, Paula Vogel, Lynn Nottage, Suzan-Lori Parks, Sarah Ruhl, and numerous others. The impact of the Great Depression and World War II profoundly influenced the development of the American stage, as did the conformist 1950s and the revolutionary 1960s on in to the complex times in which we currently live. Historical Dictionary of the Contemporary American Theater, Second Edition contains a chronology, an introduction, and an extensive bibliography. The dictionary section has more than 1.000 cross-referenced entries on plays, playwrights, directors, designers, actors, critics, producers, theaters, and terminology. This book is an excellent resource for students, researchers, and anyone wanting to know more about American theater.

Edna has suffered losses as she has aged, and now she faces a late-life cancer diagnosis. Edna’s son, Andrew, is home for a visit. Together they try to bridge the gulf between the love they shared in his childhood and the polite but baffling relationship they now live with. Mother and son stumble toward honesty as they wrestle with the phantoms—both mundane and profound—that keep them from real connection.

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

Vol. 2 includes biennial reports of the State Charitable Institutions.