Sweat Tcg Edition

Winner of the 2017 Pulitzer Prize for Drama Nominee for 3 Tony Awards including Best Play “Lynn Nottage’s best work. She offers a powerful critique of the American attitude toward class, and how it affects the decisions we make. Sweat has fraternity at its heart, but also the violence, and the suspicion that can result from class aspirations.” –Hilton Als, New Yorker Lynn Nottage has written one of her most exquisitely devastating tragedies to date. In one of the poorest cities in America, Reading, Pennsylvania, a group of down-and-out factory workers struggle to keep their present lives in balance, ignorant of the financial devastation looming in their near future. Based on Nottage’s extensive research and interviews with residents of Reading, Sweat is a topical reflection of the present and poignant outcome of America’s economic decline. Lynn Nottage is the recipient of two Pulitzer Prize Awards for Drama for Sweat and Ruined. She is the first woman playwright to be honored twice. Her other plays include Intimate Apparel; By the Way, Meet Vera Stark; Fabulation, or the Re-Education of Undine; Crumbs from the Table of Joy; and Las Meninas.

THE STORY: Recently widowed Godfrey, and his daughters Ernestine and Ermina, move from Florida to Brooklyn for a better life. Not knowing how to parent, Godfrey turns to religion, and especially to Father Divine, for answers. The girls absorb their

First collection by an important, new African-American playwright.

The piercing work is an extraordinary new departure.

Winner of the 2008 Pulitzer Prize for Drama “A tremendous achievement in American playwriting: a tragicomic populist portrait of a tough land and a tougher people.”—Time Out 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 One of the most bracing and critically acclaimed plays in recent Broadway 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. After its sold-out Chicago premiere, the play has electrified audiences in New York since its opening in November 2007. Tracy Letts is the author of Killer Joe, Bug, and Man from Nebraska, which was a finalist for the 2004 Pulitzer Prize for Drama. His plays have been performed throughout the country and internationally. A performer as well as a playwright, Letts is a member of the Steppenwolf Theatre Company, where August: Osage County premiered.

"Describes the gross qualities of sweat, and how it works to benefit a person's health"--Provided by publisher.

Winner of the 2017 Tony Award for Best Musical “Dear Evan Hansen lodges in your head long after you’ve seen it or heard it or read it. It feels like a pure expression from young writers at a crossroad of coming to terms with who they are and what they want to say about the world. Its honesty and truths haunt and ultimately open us up to ask the same question, no matter what our age or crossroad: What are the lies we tell ourselves?” –James Lapine (from the Foreword) “A gorgeous new musical. Rarely—scratch that—never have I heard so many stifled sobs and sniffles in the theater. For those allergic to synthetic sentiment, rest assured that the show, with a haunting score by Benj Pasek and Justin Paul, matched by a book of equal sensitivity by Steven Levenson, doesn’t sledgehammer home its affecting story. On the contrary, the musical finds endless nuances in the relationships among its characters, and makes room for some leavening humor too. The musical is ideal for families looking for something more complex than the usual sugary diversions. But then it should also appeal to just about anyone who has ever felt, at some point in life, that he or she was trapped “on the outside looking in,” as one lyric has it. Which is just about everybody with a beating heart.” –Charles Isherwood, New York Times “Ravishingly bittersweet... A marvelous score by Benj Pasek and Justin Paul, and an equally accomplished book by Steven Levenson...Dear Evan Hansen rolls onto some highly sensitive terrain—the writers are taking a serious look here at the ways in which we a s a culture exploit others’ misfortunes, a phenomenon abetted by the high-speed interventions of social media. The delight here is that Pasek, Paul, and Levenson do understand how to make this seemingly unmusical idea sing, and sing grandly.” –Peter Marks, Washington Post “So fine in its craft and rich in its themes that, like the best works of any genre, it rewards being seen again—and again.” –Jesse Green, New York Magazine “Terrific, gripping, and heartfelt. With a gorgeously melodic score by Benj Pasek and Justin Paul, and a smart and soulful book by the playwright Steven Levenson, Dear Evan Hansen feels like a theatrical beachhead planted by (and, partly, for) millennials.” –Adam Green, Vogue “Dear Evan Hansen is smartly crafted, emotionally open-hearted, and ideally cast. It has been embraced by millennials—yet its appeal is universal. Whatever your age, you’ll watch Dear Evan Hansen with the shock of recognition, and be touched by the honesty with which it portrays the smothering sensation of being an adolescent misfit, an awkward loser trapped in an indifferent world of self-assured winners.” –Terry Teachout, Wall Street Journal A letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed could be his. Evan Hansen is about to get the one thing he’s always wanted: a chance to belong. Deeply personal and profoundly universal, Dear Evan Hansen is a groundbreaking American musical about truth, fiction, and the price we’re willing to pay for the possibility to connect. *This publication includes the book and lyrics to the musical, as well as a foreword by James Lapine. Please note that it does not include the musical score.* Steven Levenson is the book writer for Dear Evan Hansen. His plays include If I Forget, The Unavoidable Disappearance of Tom Durnin, Core Values, The Language of Trees, and Seven Minutes in Heaven. A graduate of Brown University, he served for three seasons as a writer and producer on Showtime’s Master of Sex. Benj Pasek & Justin Paul are the song-writing team behind Dear Evan Hansen. Previous musicals include A Christmas Story: The Musical, Dogfight, James and the Giant Peach, and Edges. Their film projects include La La Land (for which they won the Academy Award for Best Original Song for “City of Stars,” with composer Justin Hurwitz), Trolls, Snow White, and The Greatest Showman. Their television credits include The Flash, Smash, and Johnny and the Sprites. Both are graduates of the University of Michigan Musical Theatre Program and members of the Dramatists Guild of America, Inc.

The works of Russia’s greatest playwright, Anton Chekhov, masterfully blend comedy and pathos, creating a richness of texture and characterization rarely seen since Shakespeare. With Three Sisters (1901), his portrait of the Prozorov family’s elusive dream of returning from the provinces to an idealized Moscow, he captured a restlessness and yearning which remain enduringly modern. In Paul Schmidt’s version – the basis for the Wooster Group’s acclaimed adaptation Brace Up! – we can perceive, for the first time in English, a refreshingly clear and colloquial style we instinctively know as Chekhov’s own. ANTON CHEKHOV (1860-1904) led a double life as a practicing physician and a celebrated author of short stories and plays. The Moscow Art Theater’s stagings of The Seagull, Uncle Vanya, The Cherry Orchard and Three Sisters – under the direction of Konstantin Stanislavsky – secured Chekhov’s reputation as a world-class dramatist. PAUL SCHMIDT edited Meyerhold at Work and has translated writings by Rimbaud, Khlebnikov, Gogol, Kaiser, Mayakovsky and Genet. Recipient of an NEA fellowship and of a doctorate in Russian from Harvard University, his translations, adaptations and original plays have been performed across the country.