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| wit play script: Wit Margaret Edson, 2014-05-20 Winner of the 1999 Pulitzer Prize for Drama, the New York Drama Critics Circle Award, the Drama Desk Award, the Outer Critics Circle Award, the Lucille Lortel Award, and the Oppenheimer Award. Adapted to an Emmy Award-winning television movie, directed by Mike Nichols, starring Emma Thompson. Margaret Edson's powerfully imagined Pulitzer Prize–winning play examines what makes life worth living through her exploration of one of existence's unifying experiences—mortality—while she also probes the vital importance of human relationships. What we as her audience take away from this remarkable drama is a keener sense that, while death is real and unavoidable, our lives are ours to cherish or throw away—a lesson that can be both uplifting and redemptive. As the playwright herself puts it, The play is not about doctors or even about cancer. It's about kindness, but it shows arrogance. It's about compassion, but it shows insensitivity. In Wit, Edson delves into timeless questions with no final answers: How should we live our lives knowing that we will die? Is the way we live our lives and interact with others more important than what we achieve materially, professionally, or intellectually? How does language figure into our lives? Can science and art help us conquer death, or our fear of it? What will seem most important to each of us about life as that life comes to an end? The immediacy of the presentation, and the clarity and elegance of Edson's writing, make this sophisticated, multilayered play accessible to almost any interested reader. As the play begins, Vivian Bearing, a renowned professor of English who has spent years studying and teaching the intricate, difficult Holy Sonnets of the seventeenth-century poet John Donne, is diagnosed with advanced ovarian cancer. Confident of her ability to stay in control of events, she brings to her illness the same intensely rational and painstakingly methodical approach that has guided her stellar academic career. But as her disease and its excruciatingly painful treatment inexorably progress, she begins to question the single-minded values and standards that have always directed her, finally coming to understand the aspects of life that make it truly worth living. |
| wit play script: Bloomsday Steven Dietz, 2017-09-29 Robert returns to Dublin to reunite with Cait, the woman who captured his heart during a James Joyce literary tour thirty-five years ago. Dancing backwards through time, the older couple retrace their steps to discover their younger selves. Through young Robbie and Caithleen, they relive the unlikely, inevitable events that brought them—only briefly—together. This Irish time-travel love story blends wit, humor, and heartache into a buoyant, moving appeal for making the most of the present before it is past. |
| wit play script: I Got Sick Then I Got Better Jenny Allen, 2013 THE STORY: I GOT SICK THEN I GOT BETTER is a comic riff on one woman's adventures after falling down the medical rabbit hole. Diagnosed with and treated for ovarian cancer, Jenny tells her story of the harrowing tailspin she took following her diagnosis |
| wit play script: Actually Anna Ziegler, 2018-02-07 Amber and Tom, finding their way as freshmen at Princeton, spend a night together that alters the course of their lives. They agree on the drinking, they agree on the attraction, but consent is foggy, and if unspoken, can it be called consent? With lyricism and wit, ACTUALLY investigates gender and race politics, our crippling desire to fit in, and the three sides to every story. |
| wit play script: Women and Wallace Jonathan Marc Sherman, 1989 |
| wit play script: Eclipsed Danai Gurira, 2015-11-23 “[Eclipsed is] a surprisingly vivacious portrait of helplessness, of the entirely human impulse to adapt, to get by even when there's little hope life will get better.”—Washington Post “Eclipsed depicts the harsh realities of women’s lives in a strife-torn African country with both a clear eye and a palpable empathy.”—New York Times Four women in Liberia struggle to survive conditions on a rebel army base. Held as the concubines of a warlord, each “wife” must find her own means of coping amidst a situation that appears hopeless. With frail, fractured identities born from an ongoing, senseless civil war, the women build their own contained world to guard against the chaos outside. This enthralling work from award-winning playwright and actress Gurira demonstrates the human capacity to endure, even in the most desolate of circumstances. Danai Gurira’s other plays include Familiar and In the Continuum, written for World AIDS Day in December 2011, which she co-wrote and co-starred in with Nikkole Salter. For In the Continuum, she was awarded an Obie Award, Outer Critics' Circle Award, and a Helen Hayes Award for her performance. She received a Whiting Writer’s Award in 2012. She is best known for her role as Michonne in the hit television series, The Walking Dead. |
| wit play script: Who Am I this Time? Kurt Vonnegut, 2014 The subject of this play—as we are told at the outset—is love, pure and complicated. Set on the stage of The North Crawford Mask & Wig Club (the finest community theatre in central Connecticut!), three early comic masterpieces by Kurt Vonnegut (Long Walk to Forever, Who am I This Time? and Go Back to Your Precious Wife and Son) are sewn together into a seamless evening of hilarity and humanity. With a single set, wonderful roles for seven versatile actors, and Vonnegut's singular wit and insight into human foibles, this is a smart, delightful comedy for the whole family. |
| wit play script: Third Wendy Wasserstein, 2008 THE STORY: His name is Woodson Bull III, but you can call him Third. And Professor Laurie Jameson is disinclined to like his jockish, jingoistic attitude. He is, as she puts it, a walking red state. Believing that Third's sophisticated essay on |
| wit play script: Buyer & Cellar Jonathan Tolins, 2014-10-14 The original script of the award-winning off-Broadway play—“irresistibly entertaining [and] surprisingly moving” (Paul Rudnick). Alex More has a story to tell. A struggling actor in LA, he takes a job working in the Malibu basement of a beloved megastar. One day, the Lady Herself comes downstairs to play. It feels like real bonding in the basement—but will their relationship ever make it upstairs? A winner of the Lucille Lortel Award for Outstanding Solo Show, Buyer & Cellar is an outrageous comedy about the price of fame, the cost of things, and the oddest of odd jobs. “Jonathan Tolins has concocted an irresistible one-man play from the most peculiar of fictitious premises . . . This seriously funny slice of absurdist whimsy creates the illusion of a stage filled with multiple people, all of them with their own droll point of view.” —The New York Times “A gorgeous play: funny and beautifully observed and richly insightful.” —Moisés Kaufman “Tolins’s writing is smart, sharp, and hilarious—and he paints a vivid picture that even a perfectionist like Barbra would have to applaud.” —James Lapine |
| wit play script: Shows for Days Douglas Carter Beane, 2017-03-16 It’s May 1973 when a young man wanders into a dilapidated community theater in Reading, PA. The company members welcome him—well, only because they need a set painter that day. The young man then proceeds to soak up all the idealism and the craziness that comes with being part of a struggling theater company with big dreams. When a playwright looks back at his beginnings in the theater and decides to chronicle those experiences in a play, all sorts of things can happen. If you’re Douglas Carter Beane, who grew out of his Reading, PA, community theater days to become one of the stage’s master writers, it’s bound to bring a measure of gimlet-eyed reflection, a large dollop of self-deprecation, and a heaping dose of hilarity. |
| wit play script: Take Five Westley M. Pederson, 1983 What happens when the technicians haven't finished the set yet, but it's opening night, an audience member gets a phone call from his wife (on the mistakenly live phone on stage), and a stagehand gets recruited to take the place of a missing actor? |
| wit play script: Sons of the Prophet Stephen Karam, 2012 Sons of the Prophet was produced by the Huntington Theatre Company (Peter DuBois, artistic director; Michael Maso, managing director) in Boston, Massachusetts, on April 13, 2011. |
| wit play script: Ada and the Engine Lauren Gunderson, 2018-06-18 As the British Industrial Revolution dawns, young Ada Byron Lovelace (daughter of the flamboyant and notorious Lord Byron) sees the boundless creative potential in the “analytic engines” of her friend and soul mate Charles Babbage, inventor of the first mechanical computer. Ada envisions a whole new world where art and information converge—a world she might not live to see. A music-laced story of love, friendship, and the edgiest dreams of the future. Jane Austen meets Steve Jobs in this poignant pre-tech romance heralding the computer age. |
| wit play script: All in the Timing David Ives, 2010-11-10 The world according to David Ives is a very add place, and his plays constitute a virtual stress test of the English language -- and of the audience's capacity for disorientation and delight. Ives's characters plunge into black holes called Philadelphias, where the simplest desires are hilariously thwarted. Chimps named Milton, Swift, and Kafka are locked in a room and made to re-create Hamlet. And a con man peddles courses in a dubious language in which hello translates as velcro and fraud comes out as freud. At once enchanting and perplexing, incisively intelligent and side-splittingly funny, this original paperback edition of Ives's plays includes Sure Thing, Words, Words, Words, The Universal Language, Variations on the Death of Trotsky, The Philadelphia, Long Ago and Far Away, Foreplay, or The Art of the Fugue, Seven Menus, Mere Mortals, English Made Simple, A Singular Kinda Guy, Speed-the-Play, Ancient History, and Philip Glass Buys a Loaf of Bread. |
| wit play script: The Book of Will Lauren Gunderson, 2018-06-18 Without William Shakespeare, we wouldn’t have literary masterpieces like Romeo and Juliet. But without Henry Condell and John Heminges, we would have lost half of Shakespeare’s plays forever! After the death of their friend and mentor, the two actors are determined to compile the First Folio and preserve the words that shaped their lives. They’ll just have to borrow, beg, and band together to get it done. Amidst the noise and color of Elizabethan London, THE BOOK OF WILL finds an unforgettable true story of love, loss, and laughter, and sheds new light on a man you may think you know. |
| wit play script: Emily Mann Alexis Greene, 2021-11-01 Emily Mann: Rebel Artist of the American Theater is the story of a remarkable American playwright, director, and artistic director. It is the story of a woman who defied the American theater's sexism, a traumatic assault, and illness to create unique documentary plays and to lead the McCarter Theatre Center, for thirty seasons, to a place of national recognition. The book traces and describes Emily Mann's family life; her coming-of-age in Chicago during the exuberant, rebellious, and often violent 1960s; how sexual violence touched her personally; and how she fell in love with theater and began learning her craft at the Loeb Drama Center in Cambridge, Massachusetts, while a student at Radcliffe. Mann's evolution as a professional director and playwright is explored, first at the Guthrie Theater in Minneapolis, where she received an MFA from the University of Minnesota, then on and off Broadway and at regional theaters. Mann's leadership of the McCarter is examined, along with her battles to overcome multiple sclerosis and to conquer—personally and artistically—the memories of the violence she experienced when a teenager. Finally, the book discusses her retirement from the McCarter, while amplifying her ongoing journey as a theater artist of sensitivity and originality. Mann's many awards include the 2015 Margo Jones Award, the 2019 Visionary Leadership Award from Theatre Communications Group, and the 2020 Lilly Award for Lifetime Achievement. In 2019, she was inducted into the Theater Hall of Fame for Lifetime Achievement in the American Theater. |
| wit play script: Othello William Shakespeare, 2021-03 Othello, The Moor of Venice is a tragedy by William Shakespeare based on the short story Moor of Venice by Cinthio, believed to have been written in approximately 1603. The work revolves around four central characters: Othello, his wife Desdemona, his lieutenant Cassio, and his trusted advisor Iago. Attesting to its enduring popularity, the play appeared in 7 editions between 1622 and 1705. Because of its varied themes -- racism, love, jealousy and betrayal -- it remains relevant to the present day and is often performed in professional and community theatres alike. The play has also been the basis for numerous operatic, film and literary adaptations. (From Wikipedia)(less) |
| wit play script: Playscript , 1971 |
| wit play script: Treasure Island Bryony Lavery, Robert Louis Stevenson, 2017-03-16 It’s a dark, stormy night. The stars are out. Jim, the innkeeper’s granddaughter, opens the door to a terrifying stranger. At the old sailor’s feet sits a huge sea-chest, full of secrets. Jim invites him in—and her dangerous voyage begins. Robert Louis Stevenson’s classic tale of murder, money, and mutiny is brought to life in this thrilling adaptation. |
| wit play script: Book Savvy Cynthia Lee Katona, 2005 In teaching how to read literature and enjoy it, Katona gives 11 good reasons to make reading a part of regular life and includes a list of tried and true page-turners with their movie counterparts. Teachers of reading, students, general readers of literature, and those just developing an interest in reading will find this guide appealing. |
| wit play script: A Woman Called Truth Sandy Asher, 1989 |
| wit play script: Ann Holland Taylor, 2017-03-16 ANN is an intimate, no-holds-barred portrait of Ann Richards, the legendary late Governor of Texas. This inspiring and hilarious play brings us face to face with a complex, colorful, and captivating character bigger than the state from which she hailed. Written and originally performed by Emmy Award-winner Holland Taylor, ANN takes a revealing look at the impassioned woman who enriched the lives of her followers, friends, and family. |
| wit play script: Wit's End Sean Zwagerman, 2010-04-25 In Wit’s End, Sean Zwagerman offers an original perspective on women’s use of humor as a performative strategy as seen in works of twentieth-century American literature. He argues that women whose direct, explicit performative speech has been traditionally denied, or not taken seriously, have often turned to humor as a means of communicating with men. The book examines both the potential and limits of women’s humor as a rhetorical strategy in the writings of James Thurber, Zora Neale Hurston, Dorothy Parker, Edward Albee, Louise Erdrich, and others. For Zwagerman, these texts “talk back” to important arguments in humor studies and speech-act theory. He deconstructs the use of humor in select passages by employing the theories of J. L. Austin, John Searle, Jacques Derrida, Shoshana Felman, J. Hillis Miller, and Eve Kosofsky Sedgwick. Zwagerman offers arguments both for and against these approaches while advancing new thinking on humor as the “end”—both the goal and limit—of performative strategy, and as a means of expressing a full range of serious purposes. Zwagerman contends that women’s humor is not solely a subversive act, but instead it should be viewed in the total speech situation through context, motives, and intended audience. Not strictly a transgressive influence, women’s humor is seen as both a social corrective and a reinforcement of established ideologies. Humor has become an epistemology, an “attitude” or slant on one’s relation to society. Zwagerman seeks to broaden the scope of performativity theory beyond the logical pragmatism of deconstruction and looks to the use of humor in literature as a deliberate stylization of experiences found in real-world social structures, and as a tool for change. Zwagerman contends that women’s humor is not solely a subversive act, but instead it should be viewed in the total speech situation through context, motives, and intended audience. Not strictly a transgressive influence, women’s humor is seen as both a social corrective and a reinforcement of established ideologies. Humor has become an epistemology, an “attitude” or slant on one’s relation to society. Zwagerman seeks to broaden the scope of performativity theory beyond the logical pragmatism of deconstruction and looks to the use of humor in literature as a deliberate stylization of experiences found in real-world social structures, and as a tool for change. |
| wit play script: Lemonade, and the Autograph Hound James Prideaux, 1969-10 THE STORIES: LEMONADE. As outlined in Show Business: LEMONADE features Jan Miner and Nancy Coleman as a pair of Peoria matrons who seek respite from the doldrums of middle age by selling spiked lemonade to highway travelers. The dialogue is hilari |
| wit play script: Rabbit Hole David Lindsay-Abaire, 2006 The hothouse atmosphere of all-male boarding schools has inspired a whole body of literature and drama exploring themes of friendship, romance, honor and betrayal...Roberto Aguirre-Sacasa's GOOD BOYS AND TRUE is a solid addition to the canon. It's a suspen No one in New York writes dialogue quite like Grimm...[He] effervesces so violently that he achieves liftoff, fizzing out of the Land of the Pleasantly Dirty Farce and landing on Planet Experimental Theater...A magical mystery tour of Grimm's brain...a comedia |
| wit play script: The Palace of Illusions Chitra Banerjee Divakaruni, 2009-02-10 Taking us back to a time that is half history, half myth and wholly magical, bestselling author Chitra Banerjee Divakaruni gives voice to Panchaali, the fire-born heroine of the Mahabharata, as she weaves a vibrant retelling of an ancient epic saga. Married to five royal husbands who have been cheated out of their father's kingdom, Panchaali aids their quest to reclaim their birthright, remaining at their side through years of exile and a terrible civil war. But she cannot deny her complicated friendship with the enigmatic Krishna—or her secret attraction to the mysterious man who is her husbands' most dangerous enemy—as she is caught up in the ever-manipulating hands of fate. |
| wit play script: Script Analysis for Actors, Directors, and Designers James Michael Thomas, 2009 Script Analysis specifically for Actors, Directors, and Designers; the only book on this subject that covers the growing area of unconventional plays. |
| wit play script: The Rover Aphra Behn, 2015-06-02 The magic of Naples during Carnival inspires love between a disparate group of local citizens and visiting Englishmen. |
| wit play script: Thomas Middleton: The Collected Works , 2007-11-22 Thomas Middleton (1580-1627) - 'our other Shakespeare' - is the only other Renaissance playwright who created lasting masterpieces of both comedy and tragedy; he also wrote the greatest box-office hit of early modern London (the unique history play A Game at Chess). His range extends beyond these traditional genres to tragicomedies, masques, pageants, pamphlets, epigrams, and Biblical and political commentaries, written alone or in collaboration with Shakespeare, Webster, Dekker, Ford, Heywood, Rowley, and others. Compared by critics to Aristophanes and Ibsen, Racine and Joe Orton, he has influenced writers as diverse as Aphra Behn and T. S. Eliot. Though repeatedly censored in his own time, he has since come to be particularly admired for his representations of the intertwined pursuits of sex, money, power, and God. The Oxford Middleton, prepared by more than sixty scholars from a dozen countries, follows the precedent of The Oxford Shakespeare in being published in two volumes, an innovative but accessible Collected Works and a comprehensive scholarly Companion. Though closely connected, each volume can be used independently of the other. The Collected Works brings together for the first time in a single volume all the works currently attributed to Middleton. It is the first edition of Middleton's works since 1886. The texts are printed in modern spelling and punctuation, with critical introductions and foot-of-the-page commentaries; they are arranged in chronological order, with a special section of Juvenilia. The volume is introduced by essays on Middleton's life and reputation, on early modern London, and on the varied theatres of the English Renaissance. Extensively illustrated, it incorporates much new information on Middleton's life, canon, texts, and contexts. A self-consciously 'federal edition', The Collected Works applies contemporary theories about the nature of literature and the history of the book to editorial practice. |
| wit play script: Queer Virgins and Virgin Queans on the Early Modern Stage Mary Bly, 2000 Queer Virgins and Virgin Queans looks at the early modern theater through the lens of obscure and obscene puns--especially queer puns, those that carry homoerotic resonances and speak to homoerotic desires. In particular, it resurrects the operations of a small boys' company known as the first Whitefriars, which performed for about nine months in 1607-8. As a group, the plays performed by this company exhibit an unusually dense array of bawdy puns, whose eroticism is extremely interesting, given that the focus of eros is the male body. The laughter recoverable from Whitefriars plays harnesses the pun's inherent doubleness to homoerotic pleasure; in these plays, 'the bawdy hand of the dial' is always 'on the pricke of noone'. Mary Bly's analysis depends on the nature of punning itself, and the inflections of language and the creativity that marked Whitefriars punsters, with special emphasis on the effect of puns on an audience. What happens to audience members who sit shoulder to shoulder and laugh at homoerotic quibbles? What is the effect of catching a queer pun's double meaning in a group rather than while alone? How can we characterize those auditors, within the convoluted, if fascinating, theories of erotic identity offered by queer theorists? |
| wit play script: Figments Billy St. John, 1995 |
| wit play script: Joe Papp: An American Life Helen Epstein, 2019-07-31 Joseph Papp (1921-1991), theater producer, champion of human rights and of the First Amendment, founder of the New York Shakespeare Festival and Public Theater, changed the American cultural landscape. Born Yussel Papirofsky in Williamsburg, Brooklyn, he discovered Shakespeare in public school and first produced a show on an aircraft carrier during World War II. After a stint at the Actors’ Lab in Hollywood, he moved to New York, where he worked as a CBS stage manager during the golden age of television. He fought Parks Commissioner Robert Moses (as well as Mayors Wagner, Lindsay, Beame and Koch) winning first the right to stage free Shakespeare in New York’s Central Park, then municipal funding to keep it going. He built the Delacorte Theater and later rebuilt the former Astor Library on Lafayette Street, transforming it into the Public Theater. In addition to helping create an American style of Shakespeare, Papp pioneered colorblind casting and theater as a not-for-profit institution. He showcased playwrights David Rabe, Elizabeth Swados, Ntozake Shange, David Hare, Wallace Shawn, John Guare, and Vaclav Havel; directors Michael Bennett, Wilford Leach and James Lapine; actors Al Pacino, Colleen Dewhurst, George C. Scott, James Earl Jones, Meryl Streep, Kevin Kline, Sam Waterston, and Denzel Washington; and produced Hair, Sticks and Bones, for colored girls, The Normal Heart, and A Chorus Line, the longest running musical in Broadway history. This first biography of the late Joseph Papp will be a hard act to follow. — Booklist The final portrait that emerges might have been jointly painted by Goya, Whistler and Francis Bacon. — Benedict Nightingale, front-page New York Times Sunday Book Review Playwright Tony Kushner called Papp one of the very few heroes this tawdry, timid business has produced and the book, a nourishing and juicy biography. Helen Epstein recounts [Papp's] career in [this] definitive, meticulously researched and highly readable biography. [...] It is a tribute to Epstein’s narrative skill that the detailed account of Papp’s decline and eventual defeat by cancer [...] reads as both riveting and horrifying. — Ellen Schiff, All About Jewish Theatre Oklahoma-born Paul Davis created 51 iconic posters for Joseph Papp, starting in 1975 with the New York Shakespeare Festival production of Hamlet starring Sam Waterston. It was inspiring to work with Joe, says Davis. We would discuss what he wanted to achieve in a production, and he trusted me to find a way to express it. And he respected the poster as its own dramatic form. The artist’s work has been exhibited in the U.S., Europe and Japan. He is a recipient of a special Drama Desk award created for his theater art. Davis was elected to the Art Directors Club Hall of Fame and the Society of Illustrators Hall of Fame, and is a Fellow of the American Academy in Rome. |
| wit play script: A Ghost in My Suitcase Gabrielle Wang, 2009-02-02 The flute music stops, and my breath catches in my throat. Silence falls like a veil. Then I hear something - no, I feel it in my chest. 'Steady yourself,' Por Por whispers. 'It's here . . . ' When Celeste travels to China to visit her grandmother, she uncovers an incredible family secret. And with this secret comes danger and adventure. If Celeste is to save her family and friends, she must learn to harness her rare and powerful gift as a ghost-hunter. . . From the award-winning author of The Garden of Empress Cassia |
| wit play script: Hidden Miriam Halahmy, 2016-09-15 What if someone's future was entirely in your hands? For fourteen-year-old Alix, life on Hayling Island off the coast of England seems insulated from problems such as war, terrorism and refugees. But then, one day at the beach, Alix and her friend Samir pull a drowning man out of the incoming tide. Mohammed, an illegal immigrant and student, has been tortured by rebels in Iraq for helping the allied forces and has spent all his money to escape. Desperate not to be deported, Mohammed's destiny now lies in Alix's hands, and she is faced with the biggest moral dilemma of her life. Should she notify the authorities or try to protect Mohammed? How can she keep him safe? Exciting and thought-provoking, this novel provides a compelling, personal look at a contemporary issue, inspired by true stories and informed by the author's work with refugees and asylum seekers. Nominated for the Carnegie Medal. |
| wit play script: Thomas Middleton: The Collected Works Thomas Middleton, 2010-03-25 Thomas Middleton is one of the few playwrights in English whose range and brilliance comes close to Shakespeare's. This handsome edition makes all Middleton's work accessible in a single volume, for the first time. It will generate excitement and controversy among all readers of Shakespeare and the English classics. |
| wit play script: Thread that Runs So True Jesse Stuart, 1958 A personal narrative of the author's experiences as a teacher in the mountain region of Kentucky. Copyright © Libri GmbH. All rights reserved. |
| wit play script: Script Into Performance Richard Hornby, 1995 (Applause Books). An analysis of script interpretation for the theater. The text includes theories on performance as well as examples from the works of Shelley, Ibsen and Pinter. In his new preface, Hornby laments the modernization of classic plays which he believes subverts the original text. Library Journal |
| wit play script: Eros and Power in English Renaissance Drama Curtis Perry, 2008-01-24 This book features five plays from the English Renaissance that explore political questions and developments by telling stories about the erotic impulses of a ruler. The volume contains fully annotated and modernized versions of Marlowe's Edward II, Shakespeare's Measure for Measure, Massinger's The Duke of Milan, Davenant's The Cruel Brother, and Ford's Love's Sacrifice. The editor provides an introduction, initial discussion, and selected illustration(s) for each play, along with an introduction to erotic politics and the Renaissance-era political mentality. A bibliography includes suggestions for further reading and a list of useful websites for students. |
| wit play script: Erma Bombeck Allison Engel, Margaret Engel, 2016 From the writers of the smash hit Red Hot Patriot: The Kick-Ass Wit of Molly Ivins comes a comic look at one of our country's most beloved voices. Erma Bombeck captured the frustrations of her generation by asking, If life is a bowl of cherries, what am I doing in the pits? Discover the story behind America's most beloved humorist who championed women's lives with wit that sprang from the most unexpected place of all - the truth. |
| wit play script: The Theater of Terrence McNally Peter Wolfe, 2013-10-17 This first book-length work on Terrence McNally shows how his decades in the theater have refined his thoughts on subjects like growing up gay in mannish, homophobic Texas, Shakespeare's legacy in contemporary drama, and the life-giving power of forgiveness. McNally believes that the ability to forgive--a challenge to even the most high-minded--confirms our humanity because the wrongs done to us usually don't deserve to be forgiven. The author shows how McNally's impeccable timing, his instinct for a good laugh line, and his preference for physical sensation and character over plot helps him reveal both what's important to his people and why his people are important. These revelations can shake up audiences while providing a great evening at the theater. |
Wit (Play) Plot & Characters - StageAgent
Wit - Play. Wit plot summary, character breakdowns, context and analysis, and performance video clips.
Cyrano de Bergerac (Play) Full Text Script - StageAgent
'Behold the nose that mars the harmony Of its master's phiz! blushing its treachery!' --Such, my dear sir, is what you might have said, Had you of wit or letters the least jot: But, O most …
A Doll's House (Play) Full Text Script - StageAgent
The whole thing is only the wildest fancy!--Now, you must go and play through the Tarantella and practise with your tambourine. I shall go into the inner office and shut the door, and I shall hear …
You Can't Take It With You (Play) Plot & Characters - StageAgent
You Can't Take It With You plot summary, character breakdowns, context and analysis, and performance video clips.
Fourteen (Play) Full Text Script - StageAgent
Play. [SCENE: The dining-room of a New York residence. A long table running from left to right, with a chair at each end and six chairs on each side, is set elaborately for fourteen. DUNHAM, …
The Duchess of Malfi (Play) Full Text Script | StageAgent
I know not which is best, To see you dead, or part with you.--Farewell, boy: Thou art happy that thou hast not understanding To know thy misery; for all our wit And reading brings us to a truer …
Oedipus (Oedipus Rex, Oedipus the King) (Play) Full Text Script
Before the Royal Palace in the Cadmean citadel of Thebes. Back to Guide. Oedipus (Oedipus Rex, Oedipus the King) full text script.
Wit (Play) Monologues - StageAgent
Selected monologues from Wit including video examples, context and character information.
Monologues From Plays | Audition Monologues - StageAgent
Hundreds of great monologues from plays for men and women of all ages. Monologues include video examples, analysis and character descriptions.
The Way of the World (Play) Full Text Script | StageAgent
My cousin's a wit: and your great wits always rally their best friends to choose. When you have been abroad, nephew, you'll understand raillery better. [Fainall and Mrs. Marwood talk apart .]
Wit (Play) Plot & Characters - StageAgent
Wit - Play. Wit plot summary, character breakdowns, context and analysis, and performance video clips.
Cyrano de Bergerac (Play) Full Text Script - StageAgent
'Behold the nose that mars the harmony Of its master's phiz! blushing its treachery!' --Such, my dear sir, is what you might have said, Had you of wit or letters the least jot: But, O most lamentable man!--of wit You never had an atom, and of letters You have three letters only!- …
A Doll's House (Play) Full Text Script - StageAgent
The whole thing is only the wildest fancy!--Now, you must go and play through the Tarantella and practise with your tambourine. I shall go into the inner office and shut the door, and I shall hear nothing; you can make as much noise as you please.
You Can't Take It With You (Play) Plot & Characters - StageAgent
You Can't Take It With You plot summary, character breakdowns, context and analysis, and performance video clips.
Fourteen (Play) Full Text Script - StageAgent
Play. [SCENE: The dining-room of a New York residence. A long table running from left to right, with a chair at each end and six chairs on each side, is set elaborately for fourteen. DUNHAM, the butler, is hovering over the table to give it a few finishing touches as MRS.
The Duchess of Malfi (Play) Full Text Script | StageAgent
I know not which is best, To see you dead, or part with you.--Farewell, boy: Thou art happy that thou hast not understanding To know thy misery; for all our wit And reading brings us to a truer sense Of sorrow.--In the eternal church, sir, I do hope we shall not part thus.
Oedipus (Oedipus Rex, Oedipus the King) (Play) Full Text Script
Before the Royal Palace in the Cadmean citadel of Thebes. Back to Guide. Oedipus (Oedipus Rex, Oedipus the King) full text script.
Wit (Play) Monologues - StageAgent
Selected monologues from Wit including video examples, context and character information.
Monologues From Plays | Audition Monologues - StageAgent
Hundreds of great monologues from plays for men and women of all ages. Monologues include video examples, analysis and character descriptions.
The Way of the World (Play) Full Text Script | StageAgent
My cousin's a wit: and your great wits always rally their best friends to choose. When you have been abroad, nephew, you'll understand raillery better. [Fainall and Mrs. Marwood talk apart .]
