A white South African teenager's relationships with his parents and, more particularly, with two of their Black servants--Willie and Sam--have a painful, tragic outcome

Two former political activists confront each other and the events which led to their sudden falling-out years ago.

THE STORY: SATCHMO AT THE WALDORF is a one-man, three-character play in which the same actor portrays Louis Armstrong, the greatest of all jazz trumpeters; Joe Glaser, his white manager; and Miles Davis, who admired Armstrong's playing but disliked his onstage manner. It takes place in 1971 in a dressing room backstage at the Empire Room of New York's Waldorf-Astoria Hotel, where Armstrong performed in public for the last time four months before his death. Reminiscing into a tape recorder about his life and work, Armstrong seeks to come to terms with his longstanding relationship with Glaser, whom he once loved like a father but now believes to have betrayed him. In alternating scenes, Glaser defends his controversial decision to promote Armstrong's career (with the help of the Chicago mob) by encouraging him to simplify his musical style, while Davis attacks Armstrong for pandering to white audiences.

Two women meet in a small Karoo village after the funeral of David, the man they both loved. One is white and was his wife. The other is black and the mother of his child. David, who was driven into exile because of his political activism against apartheid, reappears in the searing memories of the women. During a hot afternoon of truth and reconciliation, treaties of love are painfully hammered out. The young confront the old, and what is hope for these individuals is hope for the new South Africa. 

Blood Knot is a parable of two brothers who share a one-room shack near Port Elizabeth, South Africa: Zachariah is dark-skinned and Morris, light-skinned. They share the same mother but find their differences lead them to a common bond as brothers and men. Saving to buy a farm where they may retire Morris is the "slave", cooking and cleaning while Zach earns money for them both. When Morrie joins a lonely hearts club on his brother's behalf, they find themselves awaiting the visit of a White woman who will never arrive.

A compelling drama of South African apartheid and a universal coming-of-age story, from "the greatest active playwright in the English-speaking world" (Time). Originally produced in 1982, "Master Harold and the Boys" is now an acknowledged classic of the stage, whose themes of injustice, racism, friendship, and reconciliation traverse borders and time.

“A compelling account of the air war against Germany” written by the navigator portrayed by Anthony Boyle in Apple TV’s Masters of the Air (Publishers Weekly). They began operations out of England in the spring of ’43. They flew their Flying Fortresses almost daily against strategic targets in Europe in the name of freedom. Their astonishing courage and appalling losses earned them the name that resounds in the annals of aerial warfare and made the “Bloody Hundredth” a legend. Harry H. Crosby—depicted in the miniseries Masters of the Air developed by Tom Hanks and Steven Spielberg—arrived with the very first crews, and left with the very last. After dealing with his fear and gaining in skill and confidence, he was promoted to Group Navigator, surviving hairbreadth escapes and eluding death while leading thirty-seven missions, some of them involving two thousand aircraft. Now, in a breathtaking and often humorous account, he takes us into the hearts and minds of these intrepid airmen to experience both the triumph and the white-knuckle terror of the war in the skies. “Affecting . . . A vivid account . . . Uncommonly thoughtful recollections that address the moral ambiguities of a great cause without in any way denigrating the selfless valor or camaraderie that helped ennoble it.” —Kirkus Reviews “Re-creates for us the sense of how it was when European skies were filled with noise and danger, when the fate of millions hung in the balance. An evocative and excellent memoir.” —Library Journal “The acrid stench of fear and cordite, the coal burning stoves, the heroics, the losses . . . This has to be the best memoir I have read, bar none.” —George Hicks, director of the Airmen Memorial Museum

Genre: Drama Characters: 2 males, 1 female Scenery: Bare Stage On board the SS Graigaur a young sailor begins to pen his first novel. Assisted by his muse, a portrait of his mother comes to life, and supported by his friend, an illiterate ship's mechanic, he struggles to balance romance and reality. This most personal of Athol Fugard's works is strictly autobiographical; at twenty he abandoned his university education, hitch hiked up Africa and ended up on a tramp steamer in Port Sudan. This play refl ects his attempts to come to terms with the conflicting emotions evoked by memories of his courageous mother and flawed father. "Charming... Admire The Captain's Tiger and the lovely way in which it is told." - The New York Daily News

Developed in workshops with award-winning actors, these are the works in Fugard's canon that most directly confront the dehumanizing brutality of apartheid. Includes: Sizwe Bansi is Dead, The Island, and Statements After an Arrest Under the Immorality Act.