"Margulies is literate and intellectually stimulating. His ideas and language hold our attention and earn our respect."—New York "Donald Margulies has an unerring sense of language and the ability to penetrate deeply into the darkness of tangled human emotions."—Variety Gathering in their Berkshire home, a family of actors wrestles with fame, art, and (as always) each other. Brought back together for a melancholy purpose, the solemnity is quickly undercut by restless egos and inflamed temperaments. When the events of the weekend go off-script, secrets are spilled and bonds are broken. Inspired by—and often directly referencing –Chekhov's pastoral comedies, this witty and compelling new comedy unfolds in a fragile old home brimming with memories, new love, and discarded dreams. A funny and poignant comedy about a family of actors, from Pulitzer Prize-winning playwright Donald Margulies. Donald Margulies has won a Lucille Lortel Award, an American Theatre Critics Award, two Los Angeles Drama Critics Awards, two Obie Awards, two Dramatists Guild Hull-Warriner Awards, one Tony Award nomination, six Drama Desk Award nominations, two Pulitzer Prize nominations, and one Pulitzer Prize. His works have been performed on and off Broadway, and at major theaters across the United States, as well as a host of international cities.

Winner of the 2008 Pulitzer Prize for Drama and the 2008 Tony Award for Best New Play. "A tremendous achievement in American playwriting: a tragicomic populist portrait of a tough land and a tougher people." —TimeOut New York "Tracy Letts' August: Osage County is what O'Neill would be writing in 2007. Letts has recaptured the nobility of American drama's mid-century heyday while still creating something entirely original." —New York magazine “I don’t care if August: Osage County is three-and-a-half hours long. I wanted more.” –Howard Shapiro, Philadelphia Inquirer "This original and corrosive black comedy deserves a seat at the table with the great American family plays."—Time One of the most bracing and critically acclaimed plays in recent history, August: Osage County is a portrait of the dysfunctional American family at its finest—and absolute worst. When the patriarch of the Weston clan disappears one hot summer night, the family reunites at the Oklahoma homestead, where long-held secrets are unflinchingly and uproariously revealed. The three-act, three-and-a-half-hour mammoth of a play combines epic tragedy with black comedy, dramatizing three generations of unfulfilled dreams and leaving not one of its thirteen characters unscathed. August: Osage County has been produced in more than twenty countries worldwide and is now a major motion picture starring Meryl Streep, Julia Roberts, Chris Cooper, Dermot Mulroney, Sam Shepard, Juliette Lewis, and Ewan McGregor.

A brood of famous and longing-to-be-famous creative artists have gathered at their summer home during the Williamstown Theatre Festival. When the weekend takes an unexpected turn, everyone is forced to improvise, inciting a series of simmering jealousies, romantic outbursts, and passionate soul-searching. Both witty and compelling, THE COUNTRY HOUSE provides a piercing look at a family of performers coming to terms with the roles they play in each other’s lives.

The fully updated new edition of this indispensable guide.

A History of Romanian Theatre from Communism to Capitalism analyses the last three decades of Romanian theatre and connects it to the international stage. Cristina Modreanu questions the relationship between artists and power, both before 1989, behind the Iron Curtain, and in the current global political context, with nationalism manifesting itself in Eastern Europe, as seen in the critical work of Romanian theatre makers. This study covers the complex cases of theatre makers such as Lucian Pintilie, Liviu Ciulei and Andrei Șerban, who built their international careers in exile, and the most innovative Romanian artists of today, such as Silviu Purcărete, Mihai Măniuţiu, Gianina Cărbunariu, Radu Afrim, and Bogdan Georgescu, who reached the status of transglobal artists. Filling a considerable gap in Romanian theatre discourse, this book will be of a great interest to students and scholars of contemporary theatre and history.