Dive into the world of theatre excellence with our exclusive catalog of Tony Award® winning titles. Celebrating the pinnacle of Broadway artistry since the 1940s, from timeless classics to groundbreaking contemporary works, these award-winning plays have captivated audiences and critics alike.
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2020s
2023—Leopoldstadt by
Spanning fifty years and multiple generations, Leopoldstadt follows a family’s reckoning with a past it cannot escape and a future it cannot control. A passionate drama of love and endurance beginning in the last days of 1899 through the heart of the twentieth century, Stoppard’s customary wit and beauty shines through the enduring spirit of a family tested to its most extreme limits.
2020—The Inheritance by
Decades after the height of the AIDS epidemic, The Inheritance tells the story of three generations of gay men in New York City attempting to forge a future for themselves amid a turbulent and changing America. Eric Glass is a political activist engaged to his writer boyfriend, Toby Darling. When two strangers enter their lives—an older man and a younger one—their futures suddenly become uncertain as they begin to chart divergent paths. Inspired by E.M. Forster’s masterpiece Howards End, The Inheritance is an epic examination of survival, healing, class divide, and what it means to call a place home.
2010s
2018—Harry Potter and the Cursed Child based on an original story by J. K. Rowling, John Tiffany and Jack Thorne
19 years after Harry, Ron, and Hermione saved the wizarding world, they’re back on a most extraordinary new adventure–this time, joined by a brave new generation that has only just arrived at the legendary Hogwarts School of Witchcraft and Wizardry. When Harry Potter’s head-strong son Albus befriends the son of his fiercest rival, Draco Malfoy, it sparks an unbelievable new journey for them all—with the power to change the past and future forever. Prepare for spectacular spells, a mind-blowing race through time, and an epic battle to stop mysterious forces, all while the future hangs in the balance.
Harry Potter and the Cursed Child (High School Edition) is a special adaptation of the beloved worldwide hit. Tailored for high school theatre productions, it provides young actors the opportunity to play Harry, Hermione, Ron, and all of their favorite characters on their very own stage and bring the wizarding world to life for their communities. Your students will be empowered to conjure the magic through their own creativity, making it a truly exciting and engaging experience for students and audiences alike.
2017—Oslo by
Everyone remembers the stunning and iconic moment in 1993 when Israeli Prime Minister Yitzhak Rabin and PLO Chairman Yasser Arafat shook hands on the South Lawn of the White House. But among the many questions that laced the hope of the moment was that of Norway’s role. How did such high-profile negotiations come to be held secretly in a castle in the middle of a forest outside Oslo? A darkly funny and sweeping play, OSLO tells the surprising true story of the back-channel talks, unlikely friendships, and quiet heroics that led to the Oslo Peace Accords between the Israelis and Palestinians. J.T. Rogers presents a deeply personal story set against a complex historical canvas: a story about the individuals behind world history and their all too human ambitions.
2016—The Humans by
Breaking with tradition, Erik Blake has brought his Pennsylvania family to celebrate Thanksgiving at his daughter’s apartment in lower Manhattan. As darkness falls outside the ramshackle pre-war duplex, eerie things start to go bump in the night and the heart and horrors of the Blake clan are exposed.
2015—The Curious Incident of the Dog in the Night-Time based on the novel by Mark Haddon, adapted by Simon Stephens
15-year-old Christopher has an extraordinary brain: He is exceptional at mathematics but ill-equipped to interpret everyday life. He has never ventured alone beyond the end of his road, he detests being touched, and he distrusts strangers. Now it is 7 minutes after midnight, and Christopher stands beside his neighbor’s dead dog, Wellington, who has been speared with a garden fork. Finding himself under suspicion, Christopher is determined to solve the mystery of who murdered Wellington, and he carefully records each fact of the crime. But his detective work, forbidden by his father, takes him on a thrilling journey that upturns his world.
2014—All the Way by
November, 1963. An assassin’s bullet catapults Lyndon Baines Johnson into the presidency. A Shakespearean figure of towering ambition and appetite, this charismatic, conflicted Texan hurls himself into the passage of the Civil Rights Act—a tinderbox issue emblematic of a divided America—even as he campaigns for re-election in his own right, and the recognition he so desperately wants. In Pulitzer Prize and Tony Award–winning Robert Schenkkan’s vivid dramatization of LBJ’s first year in office, means versus ends plays out on the precipice of modern America. ALL THE WAY is a searing, enthralling exploration of the morality of power. It’s not personal, it’s just politics.
2013—Vanya and Sonia and Masha and Spike by
Middle-aged siblings Vanya and Sonia share a home in Bucks County, PA, where they bicker and complain about the circumstances of their lives. Suddenly, their movie-star sister, Masha, swoops in with her new boy toy, Spike. Old resentments flare up, eventually leading to threats to sell the house. Also on the scene are sassy maid Cassandra, who can predict the future, and a lovely young aspiring actress named Nina, whose prettiness somewhat worries the imperious Masha.
2012—Clybourne Park by
Clybourne Park explodes in two outrageous acts set fifty years apart. Act One takes place in 1959, as white community leaders anxiously try to stop the sale of a home to a black family. Act Two is set in the same house in the present day, as the now predominantly African-American neighborhood battles to hold its ground in the face of gentrification.
2010—Red by
Master abstract expressionist Mark Rothko has just landed the biggest commission in the history of modern art, a series of murals for New York’s famed Four Seasons Restaurant. In the two fascinating years that follow, Rothko works feverishly with his young assistant, Ken, in his studio on the Bowery. But when Ken gains the confidence to challenge him, Rothko faces the agonizing possibility that his crowning achievement could also become his undoing. Raw and provocative, Red is a searing portrait of an artist’s ambition and vulnerability as he tries to create a definitive work for an extraordinary setting.
2000s
2009—God of Carnage by Yasmina Reza, translated by Christopher Hampton
A playground altercation between eleven-year-old boys brings together two sets of Brooklyn parents for a meeting to resolve the matter. At first, diplomatic niceties are observed, but as the meeting progresses, and the rum flows, tensions emerge and the gloves come off, leaving the couples with more than just their liberal principles in tatters.
2008—August: Osage County by
A vanished father. A pill-popping mother. Three sisters harboring shady little secrets. When the large Weston family unexpectedly reunites after Dad disappears, their Oklahoman family homestead explodes in a maelstrom of repressed truths and unsettling secrets. Mix in Violet, the drugged-up, scathingly acidic matriarch, and you’ve got a major play that unflinchingly—and uproariously—exposes the dark side of the Midwestern American family.
2005—Doubt, A Parable by
In this brilliant and powerful drama, Sister Aloysius, a Bronx school principal, takes matters into her own hands when she suspects the young Father Flynn of improper relations with one of the male students.
2004—I Am My Own Wife by
Based on a true story, and inspired by interviews conducted by the playwright over several years, I Am My Own Wife tells the fascinating tale of Charlotte von Mahlsdorf, a real-life German transvestite who managed to survive both the Nazi onslaught and the repressive East German Communist regime.
2003—Take Me Out by
Darren Lemming, the star center fielder of the world champion New York Empires, is young, rich, famous, talented, handsome and so convinced of his popularity that when he casually announces he’s gay, he assumes the news will be readily accepted by everyone. It isn’t. Friends, fans and teammates react with ambivalence, and when the slipping Empires call up the young phenom Shane Mungitt to close their games, the ambivalence turns to violence. Angry, lonely, guilt-ridden and confused, Darren finds some unlikely solace in the form of friendship with his new business manager, Mason Marzac—a brilliant but repressed guy, who, as everyone around him copes with disenchantment, blooms in the ecstatic discovery of baseball.
2002—The Goat or, Who is Sylvia? by
“The Goat is about a profoundly unsettling subject, which for the record is not bestiality but the irrational, confounding, and convention-thwarting nature of love. Powerful [and] extraordinary…Mr. Albee still asks questions that no other major American dramatist dares to ask.” —The New York Times.
2001—Proof by
On the eve of her twenty-fifth birthday, Catherine, a troubled young woman, has spent years caring for her brilliant but unstable father, a famous mathematician. Now, following his death, she must deal with her own volatile emotions; the arrival of her estranged sister, Claire; and the attentions of Hal, a former student of her father’s who hopes to find valuable work in the 103 notebooks that her father left behind. Over the long weekend that follows, a burgeoning romance and the discovery of a mysterious notebook draw Catherine into the most difficult problem of all: How much of her father’s madness—or genius—will she inherit?
1990s
1999—Side Man by
Set in 1953 and traveling to 1985, this lovely and poignant memory play unfolds through the eyes of Clifford, the only son of Gene, a jazz trumpet player, and Terry, an alcoholic mother. Alternating between their New York City apartment and a smoke-filled music club, Clifford narrates the story of his broken family and the decline of jazz as popular entertainment. Clifford recalls the key moments in his life, such as the day when he, fresh out of college, picked up his first unemployment check and was congratulated by Gene and his band mates. Gene’s music career on the big band circuit ultimately crumbles with the advent of Elvis and rock-n-roll. Terry begs him to get a nine-to-five job to support the family, but Gene refuses to enter the “straight world” of regular paychecks, mortgages and security. For Gene, who knows jazz better than his own son, music is not just a job; it’s his life. Their marriage slowly dissolves and young Clifford is witness to it all. As things worsen, Clifford assumes the role of parent and throws the hopeless Gene out of his mother’s apartment. When an adult Clifford visits Gene in a rundown jazz club after years of separation, he requests that the old man play his mother’s favorite song, the old standard “Why was I Born?” Clifford then asks, “Dad, why was I born?” It becomes Clifford’s last, heart-breaking plea for his father’s love.
1998—‘Art’ by Yasmina Reza, translated by Christopher Hampton
How much would you pay for a white painting? Would it matter who the painter was? Would it be art? One of Marc’s best friends, Serge, has just bought a very expensive painting. It’s about five feet by four, all white with white diagonal lines. To Marc, the painting is a joke, but Serge insists Marc doesn’t have the proper standard to judge the work. Another friend, Ivan, though burdened by his own problems, allows himself to be pulled into this disagreement. Eager to please, Ivan tells Serge he likes the painting. Lines are drawn and these old friends square off over the canvas, using it as an excuse to relentlessly batter one another over various failures. As their arguments become less theoretical and more personal, they border on destroying their friendships. At the breaking point, Serge hands Marc a felt tip pen and dares him: “Go on.” This is where the friendship is finally tested, and the aftermath of action, and its reaction, affirms the power of those bonds.
1997—The Last Night of Ballyhoo by
The Last Night of Ballyhoo takes place in Atlanta, Georgia, in December of 1939. Gone with the Wind is having its world premiere, and Hitler is invading Poland, but Atlanta’s elitist German Jews are much more concerned with who is going to Ballyhoo, the social event of the season. Especially concerned is the Freitag family: bachelor Adolph; his widowed sister, Beulah (Boo) Levy; and their also widowed sister-in-law, Reba. Boo is determined to have her dreamy, unpopular daughter, Lala, attend Ballyhoo, believing it will be Lala’s last chance to find a socially acceptable husband. Adolph brings his new assistant, Joe Farkas, home for dinner. Joe is Brooklyn born and bred, and furthermore is of Eastern European heritage—several social rungs below the Freitags, in Beulah’s opinion. Lala, however, is charmed by Joe and she hints broadly about being taken to Ballyhoo, but he turns her down. This enrages Boo, and matters get worse when Joe falls for Lala’s cousin, Reba’s daughter, Sunny, home from Wellesley for Christmas vacation.
Will Boo succeed in snaring Peachy Weil, a member of one of the finest Jewish families in the South? Will Sunny and Joe avoid the land mines of prejudice that stand in their way? Will Lala ever get to Ballyhoo? The family gets pulled apart and then mended together with plenty of comedy, romance, and revelations along the way. Events take several unexpected turns as the characters face where they come from and are forced to deal with who they really are.
1996—Master Class by
Maria Callas is teaching a master class in front of an audience: us. She’s glamorous, commanding, larger than life—and drop-dead funny. Callas’ first “victim” is Sophie, a ridiculous, overly perky soprano. Sophie chooses to sing one of the most difficult arias, the sleepwalking scene from La sonnambula—an aria that Callas made famous. Before the girl sings a note, Callas stops her—and now what has started out as a class becomes a platform for Callas. She glories in her own career, dabbles in opera dish, and flat-out seduces the audience. But with that, there are plenty of laughs going on, especially between Callas and the audience. The next two sessions repeat the same dynamic: The middle session is with a tenor, who moves Callas to tears. She again enters her memories, and we learn about Callas’ affair with Aristotle Onassis; an abortion she was forced to have; her first elderly husband whom she left; her early days as an ugly duckling; the fierce hatred of her rivals; and the unforgiving press that savaged her at first. Finally, we meet Sharon, another soprano— the young singer has talent, but Callas tells her to stick to flimsy roles. Sharon is devastated and rushes out of the hall, and Callas brings the class to a close by acknowledging the sacrifices we must make in the name of art.
1995—Love! Valour! Compassion! by
At a beautiful Dutchess County farmhouse, eight men hash out their passions, resentments, and fears over the course of three summer weekends. There’s Perry and Arthur, a professional couple of long standing, whose relationship, while strained, always manages to settle into the loving routine of a couple grown too familiar with one another, but happily so. The owner of the summer house, Gregory, is an aging choreographer who dotes on his younger lover, Bobby, who is blind. Their relationship seems solid, until an irresistible dancer, Ramon, callously flaunts his sex appeal and manages to seduce Bobby on the first night in the house. Trying to keep Ramon to himself is John Jeckyll, a soured ex-patriot Brit with a taste for melodrama—and cruelty. John rankles everyone around him, speaking the unspeakable in haughty nonchalance while probing the weaknesses of the others. The painful truth about his ire eventually becomes clear when he has to take care of his terminally ill twin brother, James. Unlike John, James inspires nothing but affection in those around him, and here lies both the crux of John’s complaint and the source of one of the play’s most blistering and revealing of monologues about the related questions of gay identity and self-esteem. Finally, there is Buzz, a maniacal lover of the musical theater. Like James, Buzz suffers from AIDS, and he has resigned himself to a life of humorous anecdotes and comforting trivia. Strange things can happen, though, and against all odds, Buzz finds himself falling in love for what may be one last summer.
1992—Dancing at Lughnasa by
This extraordinary play is the story of five unmarried sisters eking out their lives in a small village in Ireland in 1936. We meet them at the time of the festival of Lughnasa, which celebrates the pagan god of the harvest with drunken revelry and dancing. Their spare existence is interrupted by brief, colorful bursts of music from the radio, their only link to the romance and hope of the world at large. The action of the play is told through the memory of the illegitimate son of one of the sisters as he remembers the five women who raised him: his mother and four maiden aunts. He is only seven in 1936, the year his elderly uncle, a priest, returns after serving for twenty-five years as a missionary in a Ugandan leper colony. For the young boy, two other disturbances occur that summer. The sisters acquire their first radio, whose music transforms them from correct Catholic women to shrieking, stomping banshees in their own kitchen. And he meets his father for the first time, a charming Welsh drifter who strolls up the lane and sweeps his mother away in an elegant dance across the fields. From these small events spring the cracks that destroy the foundation of the family forever. Widely regarded as Brian Friel’s masterpiece, this haunting play is Friel’s tribute to the spirit and valor of the past.
1990—The Grapes of Wrath by John Steinbeck, adapted by
Renowned first as a novel, and then as a prize-winning motion picture, the story of the Joad family and their flight from the dust bowl of Oklahoma is familiar to all. Desperately proud, but reduced to poverty by the loss of their farm, the Joads pile their few possessions on a battered old truck and head west for California, hoping to find work and a better life. Led by the indomitable Ma Joad, who is determined to keep the family together at any cost, and by the volatile young Tom Joad, an ex-convict who grows increasingly impatient with the intolerance and exploitation that they encounter on their trek, the Joads must deal with death and terrible deprivation before reaching their destination—where their waning hopes are dealt a final blow by the stark realities of the Great Depression. And yet, despite the anguish and suffering that it depicts, the play becomes in the final essence a soaring and deeply moving affirmation of the indomitability of the human spirit and of the essential goodness and strength that—then as now—reside in the hearts and minds of the “common man,” throughout the world.
1980s
1989—The Heidi Chronicles by
Comprised of a series of interrelated scenes, the play traces the coming of age of Heidi Holland, a successful art historian, as she tries to find her bearings in a rapidly changing world. Gradually distancing herself from her friends, she watches them move from the idealism and political radicalism of their college years through militant feminism and, eventually, back to the materialism that they had sought to reject in the first place. Heidi’s own path to maturity involves an affair with the glib, arrogant Scoop Rosenbaum, a womanizing lawyer/publisher who eventually marries for money and position; a deeper but even more troubling relationship with a charming, witty young pediatrician, Peter Patrone, who turns out to be gay; and increasingly disturbing contacts with the other women, now much changed, who were a part of her childhood and college years. Eventually Heidi comes to accept the fact that liberation can be achieved only if one is true to oneself, with goals that come out of need rather than circumstance. As the play ends she is still “alone,” but having adopted an orphaned baby, it is clear that she has begun to find a sense of fulfillment and continuity that may well continue to elude the others of her anxious, self-centered generation.
1988—M. Butterfly by
Bored with his routine posting in Beijing, and awkward with women, Rene Gallimard, a French diplomat, is easy prey for the subtle, delicate charms of Song Liling, a Chinese opera star who personifies Gallimard’s fantasy vision of submissive, exotic oriental sexuality. He begins an affair with “her” that lasts for twenty years, during which time he passes along diplomatic secrets, an act that, eventually, brings on his downfall and imprisonment. Interspersed with scenes between the two lovers are others with Gallimard’s wife and colleagues that underscore the irony of Gallimard’s delusion and its curious parallel to the events of Puccini’s famous opera Madame Butterfly. Combining realism and ritual with vivid theatricality, the play reaches its astonishing climax when Song Liling, before our very eyes, strips off his female attire and assumes his true masculinity—a revelation that the deluded Gallimard can neither credit nor accept and which drives him finally—and fatally—deep within the fantasy with which, over the years, he has held the truth at bay.
1984—The Real Thing by
Henry is a successful playwright married to Charlotte, who has the lead role in his latest play about adultery. Her co-star, Max, is married to another actress, Annie, and Annie and Henry are madly in love. As Henry navigates his personal and creative passions, the line between truth and fiction is blurred in this devastating portrait of love, performance, and the “real thing.”
1982—The Life and Adventures of Nicholas Nickleby, Part One and Part Two by David Edgar, from the novel by Charles Dickens
Despite its length and large cast, the play requires relatively simple staging, enabling it to move smoothly through its many scenes and related story lines. The sum total is a brilliant recapturing of the sights and sounds of Victorian England, and the touching, funny, exhilarating saga of the virtuous young Nicholas as he meets and masters the challenges of poverty and corruption. In the end the play is a soaring affirmation of man’s essential goodness—a thrilling, eloquent rendering of the diverse people, places and events which, in Dickens’ time or in ours, make up the real stuff of life and draw on the deepest resources of the human spirit. As Clive Barnes puts it: “The greatness of Nicholas Nickleby is breathtakingly simple. The play flies. And it flies backwards. It takes you to a world of sentiment and passion glimpsed before but never known.”
1980—Children of a Lesser God by
After three years in the Peace Corps, James, a young speech therapist, joins the faculty of a school for the deaf, where he is to teach lip-reading. He meets Sarah, a school dropout, totally deaf from birth, and estranged both from the world of hearing and from those who would compromise to enter that world. Fluent in sign language, James tries, with little success, to help Sarah, but gradually the two fall in love and marry. At first their relationship is a happy and glowing one, as the gulf of silence between them seems to be bridged by their desire to understand each other’s needs and feelings, but discord soon develops as Sarah becomes militant for the rights of the deaf and rejects any hint that she is being patronized and pitied. In the end the chasm between the worlds of sound and silence seems almost too great to cross…but love and compassion hold the hope of reconciliation, and a deeper, fuller understanding of differences that, in the final essence, can unite as well as divide.
1970s
1973—That Championship Season by
Following their annual custom, five men—a high-school basketball coach, now retired, and four members of the team that he guided to the state championship twenty years earlier—meet for a reunion. The occasion begins in a light-hearted mood but gradually, as the pathos and desperation of their present lives are exposed and illuminated, the play takes on a rich power of rare dimension. One former player is now the inept mayor of the town—and facing a strong challenge for re-election. Another, the frustrated principal of the local high school, is his ambitious campaign manager. A third, now a successful (and destructive) businessman, is wavering in his financial support of the mayor. While the fourth is a witty, but despairing alcoholic. As the evening progresses all that these men were—and have become—is revealed and examined with biting humor and saving compassion. In the end self-preservation, abetted by the unconscious cynicism and bigotry of their coach, draws them together. But they are lost, morally bankrupt men holding onto fraudulent dreams that have poisoned their present lives and robbed them of the future that was once so rich in promise.
1960s
1968—Rosencrantz and Guildenstern Are Dead by
Acclaimed as a modern dramatic masterpiece, Rosencrantz & Guildenstern Are Dead is the fabulously inventive tale of Hamlet as told from the worm’s-eye view of the bewildered Rosencrantz and Guildenstern, two minor characters in Shakespeare’s play. In Tom Stoppard’s best-known work, this Shakespearean Laurel and Hardy finally get a chance to take the lead role, but do so in a world where echoes of Waiting for Godot resound, where reality and illusion intermix, and where fate leads our two heroes to a tragic but inevitable end.
1963—Who’s Afraid of Virginia Woolf? by
George, a professor at a small college, and his wife, Martha, have just returned home, drunk from a Saturday night party. Martha announces, amidst general profanity, that she has invited a young couple—an opportunistic new professor at the college and his shatteringly naïve new bride—to stop by for a nightcap. When they arrive the charade begins. The drinks flow and suddenly inhibitions melt. It becomes clear that Martha is determined to seduce the young professor, and George couldn’t care less. But underneath the edgy banter, which is crossfired between both couples, lurks an undercurrent of tragedy and despair. George and Martha’s inhuman bitterness toward one another is provoked by the enormous personal sadness that they have pledged to keep to themselves: a secret that has seemingly been the foundation for their relationship. In the end, the mystery in which the distressed George and Martha have taken refuge is exposed, once and for all revealing the degrading mess they have made of their lives.
1950s
1957—Long Day’s Journey into Night by
As told by New York Journal-American: “In the space of one day, from morning until midnight, we are given the tortured family background which created the elusive yet magnificent talent of the author. The characters come to life with an almost frightening fidelity; it is doubtful if any work in the theatre has ever been written with such first-person authority. The proceedings take place in the living room of a summer house in 1912. In short order we learn that the father, although well off, is a confirmed miser; one son is a drunk, the younger one is tubercular and the mother is a drug addict. Then we begin to learn the reasons for this excessive bad fortune. The mother’s addiction resulted from the father’s penury in sending her to a second-rate doctor; the elder boy drinks from sheer frustration; the old man has never been able to get over his magnified respect for money induced by an impoverished childhood. Even the illness of the younger son, quite obviously the author, is being treated by the cheapest local physician, and the father is planning to send him to a state sanatorium where he will hopefully expire inexpensively. This sounds like a preponderance of tragedy for any household, and so it must have been, but it is revealed in such terms of stark honesty that no one can ever doubt its stature as an autobiographical document. The people speak in the everyday language of our neighbors; their emotions rise and fall with the absurd devotion to trivialities which provoke so many quarrels; these are dimensional characters trying desperately to keep their doomed household together.”
1956—The Diary of Anne Frank by Frances Goodrich and Albert Hackett
Very few plays have moved the Broadway critics to write such glowing notices, receiving the unanimous acclaim of all the top New York reviewers.
“A lovely tender drama…Strange how the shining spirit of a young girl now dead can filter down through the years and inspire a group of theatrical professionals in a foreign land.” —The New York Times.
1954—The Teahouse of the August Moon by John Patrick, based on the novel by Vern Sneider
As told by John McClain in the New York Journal-American: “…pursues the career of an Army of Occupation officer stationed in a remote town in Okinawa. His duty is to teach Democracy to the natives, and there is a stern and stupid Colonel breathing down his neck to insure the strict enforcement of the Manual of Occupation. But the young officer has not prepared himself for the ingenious charm of the people. Within a matter of days he finds himself the owner of a Grade A geisha girl; the materials sent him for the construction of a school are being used to build a teahouse and he himself, in an effort to improve the economy of the village, has taken to selling the principal product, potato brandy, to all the surrounding Army and Navy Officers’ clubs. The gala opening of the teahouse is, of course, the moment chosen by the Colonel to make his inspection of the village, and the ensuing eruption is volcanic. The officer is sure to be court martialed, the Colonel demoted. But when life is darkest, word arrives that Congress, that old standby, has received reports that this is the most progressive village on the island, and all is forgiven.”
1953—The Crucible by
Widely considered a masterpiece, this timeless classic challenges American ideas of power, intolerance, and justice. In the Puritan community of Salem, Massachusetts, a servant girl accuses a farmer’s wife of witchcraft. One accusation spirals into many, uncovering a web of bigotry and deceit that changes their lives forever. Among the most produced plays since its 1953 debut, The Crucible is both a gripping historical drama and an evergreen parable of contemporary society.
1951—The Rose Tattoo by
Serafina Delle Rose is a restless widow whose intense and absorbing instinct for love drives everything before it. The figure of this extraordinary woman dominates the small town where she and her friends are living and embodies the exultation and danger of unbridled passion. Her story, and that of the lover she chooses and the daughter she denies, are forged into a play of power, humanity, and soaring emotion. Set among a colony of Sicilian fisher-folk on the American Gulf Coast, The Rose Tatoo is the story of a woman for whom love was stronger than death.
1940s
1949—Death of a Salesman by
The story revolves around the last days of Willy Loman, a failing salesman, who cannot understand how he failed to win success and happiness. Through a series of tragic soul-searching revelations of the life he has lived with his wife, his sons, and his business associates, we discover how his quest for the “American Dream” kept him blind to the people who truly loved him. A thrilling work of deep and revealing beauty that remains one of the most profound classic dramas of the American theatre.
1948—Mister Roberts by Thomas Heggen and Joshua Logan
This rowdy, realistic saga of a group of American sailors aboard a Navy cargo vessel in the Pacific shows the crew suffering from that deadly boredom that is part of the routine of war. To the ship’s company, the Skipper is a cantankerous, small-minded man and every one of them conspires against him as the ship pursued its runs from Apathy to Tedium and back again. They are on a cargo mission, so little else is going to happen. That Mr. Roberts, [a lieutenant] shared the crew’s dislike for the Captain was one reason for his popularity. Roberts joined the world to fight; he hates being inactive almost as much as he hates the Captain. Privy to the crew’s hijinks against the Skipper, Roberts still feels it’s his duty to retain some discipline. After winning many ingenious battles against the Skipper, Roberts at last wins himself a transfer to combat duty. It was this transfer that cost him his life on a destroyer off Japan.
1947—All My Sons by
During the war Joe Keller and Steve Deever ran a machine shop which made airplane parts. Deever was sent to prison because the firm turned out defective parts, causing the deaths of many men. Keller went free and made a lot of money. The twin shadows of this catastrophe and the fact that the young Keller son was reported missing during the war dominate the action. The love affair of Chris Keller and Ann Deever, the bitterness of George Deever returned from the war to find his father in prison and his father’s partner free, are all set in a structure of almost unbearable power. The climax showing the reaction of a son to his guilty father is fitting conclusion to a play electrifying in its intensity.
