In the 1700's, municipalities mapped roads in survey journals, yet many were never built - nor were they properly discontinued and remain public rights-of-way today. These rights-of-way have become the focus of several land disputes. Vermont is at the forefront to legislatively address this nationwide issue.

In Parcel 141, author Kate Chatot documents her personal experience with a decade long legal case involving a road with an unidentified status, prescriptive law and current property rights. This legal case evokes a strong sense of confusion, frustration, a sense of injustice, and ultimately justice. Parcel 141 confronts one with the virtue of patience and aptly imparts the lesson that the wheels of justice do grind, but slowly.

Set in the First World War, Journey's End concerns a group of British officers on the front line and opens in a dugout in the trenches in France. Raleigh, a new eighteen-year-old officer fresh out of English public school, joins the besieged company of his friend and cricketing hero Stanhope, and finds him dramatically changed ...

Laurence Olivier starred as Stanhope in the first performance of Journey's End in 1928; the play was an instant stage success and remains a great anti-war classic.

New version approved for virtual performance! What "The Irish Curse" is - and how it manifests itself - is the raw centerpiece of this wicked, rollicking and very funny new play. From its blistering language to its brutally honest look at sex and body image, The Irish Curse is a revealing portrait of how men, and society, define masculinity. In doing so, it dares to pose the fundamental question that has been on the minds of men since the beginning of time: "Do I measure up to the next guy?" Size matters to a small group of Irish-American men (all professionally successful New Yorkers) who meet every Wednesday night, in a Catholic church basement, at a self-help group for men with small penises. This alleged Irish trait is the focus of their weekly sessions, as they all feel this "shortcoming" has ruined their lives. One evening, when a twentysomething blue-collar guy joins the group, he challenges everything the other men think about "the Irish Curse"... tackling their obsession with body image and unmasking the comical and truthful questions of identity, masculinity, sex and relationships that men face every day.

Three Thieves break into the same gallery on the same night. They're all intent on stealing the same Extremely Valuable Painting. They're bound to meet and it's bound to get messy. Poltergeist present an existential caper, an interactive sketch-show, an exploration of how the brain curates the world, a tragedy about cognitive malfunction - an Art heist play, but why label? From the team behind the multi-award-winning Lights Over Tesco Car Park. Produced by Poltergeist in association with The North Wall Arts Centre. New Diorama / Underbelly Untapped Award 2019 Also includes... the Official Art Heist Game!

Sanders Family Christmas is the sequel to Connie Ray and Alan Bailey's wildly successful bluegrass gospel musical Smoke on the Mountain. It's December 24, 1941, and America is going to war. So is Dennis Sanders, of the Sanders Family Singers. Join Pastor Mervin Oglethorpe and the rest of the Sanders family as they send Dennis off with hilarious and touching stories and twenty-five Southern Gospel Christmas favorites.

This new translation (the first complete verse translation of Aristophanes' comedies to appear for more than twenty-five years) makes freshly available one of the most remarkable comic playwrights in the entire Western tradition. Aristophanes is the only surviving representative of Greek Old Comedy, which flourished during the heyday of classical Athenian culture in the fifth century BC, and his plays are characterized by extraordinary combinations of fantasy and satire, sophistication and vulgarity, formality and freedom. This special mixture of qualities calls for a range and flexibility of linguistic resources which only a verse translation can supply. The present translation balances historical fidelity with literary and dramatic vigour, and conveys some of the unique variety of Aristophanic comic theatre. There is a substantial general introduction to the author and introductory essays to each of the plays, as well as full explanatory notes and an index of names.

When Mr Dashwood dies, he leaves behind him a fine estate - but the law dictates that this must go to his eldest son, John, leaving his wife and daughters bereft. The Dashwood women must learn to embrace a new life, for better or for worse. Sisters Marianne (a hopeless romantic) and Elinor (a stoic realist) experience the pitfalls of society, the generosity of new friends, and the passion of unexpected love in this funny and poignant adaptation of Jane Austen's exquisite early work. Battling vicious gossip, painful secrets, and the well-meaning interference of would-be matchmaker Mrs Jennings, the Dashwood sisters learn the importance of both sense and sensibility.

Connie and Oletha are like two peas in a pod. After meeting for the first time on a Sunday afternoon after one of Reverend Pete's dynamic sermons at the local church, the fair-skinned Connie and the cocoa brown Oletha connect immediately and two strangers become best friends right then and there.

As the young girls become closer, they talk about boys during weekly youth sessions at church. While Oletha excitedly describes Leon, a high school athlete who is handsome, muscular, and a soon-to-be-lover, Connie's mind is occupied with thoughts of Melvin, a young churchgoer. But on a hot summer evening while walking to the country store, Oletha and Connie realize that everything in life can change in an instant. Leon stops to offer them a ride and asks Connie-who has always been mesmerized with Oletha's descriptions of the attractive athlete-to ride up front. As an already hot summer night becomes even more heated, Connie must face a monumental decision.

Torn between the advice of her churchgoing mother and the advice of her best friend, Connie knows that the choice she makes is going to bring unpredictable changes to not only her life, but the lives of others.

Behold the Spectatorium: an audacious, visionary 12,000-seat theater designed for the Chicago World's Fair of 1893 by Steele MacKaye, the now-forgotten theatrical impresario around whom this haunted, forty-year love story spins. The Light Years is an epic, intimate tale of two families struggling to meet their future, and a spectacular tribute to man's indomitable spirit of invention.

This collection of seven darkly funny and mysterious plays includes the long one act Pirandello, in which the great Italian playwright, writing alone on the stage of his theatre late at night, is interrupted by the Italian dictator Mussolini, who wants him to write the authorized biographical play of the dictator's life, Pirandello's jealous wife, who believes Pirandello is sleeping with every woman in sight, including his daughter, and an increasingly disturbing group of characters who may or may not be real, leading Pirandello to question the relationship between his theories about the malleable nature of reality to the rise of Fascism and Fascist propaganda; The Recollection Of Green Rain, which tells the mostly true story of two green children found wandering near an English village, who spoke an unknown language and insisted they were from a mysterious green underground kingdom; Pinocchio, in which Gloria's blind date turns out to be an angry puppet with a rather unsettling story to tell; Rusalka, in which a police officer investigating the disappearance of a young girl tries to make sense out of the increasingly odd stories her best friend tells about her; Humpty Dumpty, in which an enormous egg with very bad hair sits on top of a wall and talks about making Wonderland great again; Brimstone Run, in which a family legacy of betrayal and tragedy is played out at the town dump; and Nictzin Dyalhis, in which a legendary, reclusive writer of weird tales is haunted by a sea goddess he may or may not have invented. In each of these plays, in one way or another, compelling characters find themselves lost in a labyrinthine twilight zone of dream variations which combine the Gothic, the surreal and the absurd. Don Nigro is among the most frequently published and widely produced playwrights in the world and has continued to build a deeply interrelated and diverse body of dramatic literature, employing a wide variety of dramatic conventions and styles of presentation. He has written monologues and epics, spare realistic dramas and surreal homicidal puppet farces, plays with music and verse plays. He continues to build the long cycle of Pendragon County plays, which traces the history of America through the lives of several related east Ohio families from the eighteenth century to the present, and features many characters whose lives are traced from youth through middle age to old age in a number of plays that may be presented in a variety of combinations.

This master piece collects the painful feelings of a growing sector of a nation marked by the oppression of two different cultures. PITIRRE DOES NOT WANT TO SPEAK ENGLISH represents the rejection against the embarrassing and impunity ambition of an imperialist nation in plain twenty-first century.

The first play published by an African-American, this comic 1858 melodrama about two slaves who secretly marry explores the racial tensions between North and South in the years just before the Civil War. With its mix of action, comedy, social commentary and an authenticity only a former slave could recreate, The Escape is essential reading for students of black history and literature. It is also a remarkable glimpse at characters and situations rarely seen from the contemporary black perspective.Born into slavery, American author WILLIAM WELLS BROWN (1814 1884) escaped to the North where he became a prominent abolitionist lecturer, novelist, playwright, and historian. His novel, Clotel: or, The President 's Daughter, is considered by historians to be the first novel written by an African American. His other works include The Negro in the American Rebellion and The Black Man.

Katie has gone from a little girl who used to climb trees, ride bikes and go on adventures to an adult who worries about everything. But now Katie is a mum, she must be brave in a whole new way. Determined that her young daughter will never lose the powerful, fierce magic she arrived into the world with, Katie sets off on a mission with the help of a stolen BMX, a policewoman with bad hair and a pigeon in a bag as she rides around Newport to find what she's really made of. By listening to the unheard voices of the city, she begins to discover what the women who have gone before can teach her about how to be brave. Sian Owen's one-woman play is about what we are made of, what we leave behind, and learning to be brave when your world is falling apart.

This commentary discusses Aeschylus' play Agamemnon (458 BC), which is one of the most popular of the surviving ancient Greek tragedies, and is the first to be published in English since 1958. It is designed particularly to help students who are tackling Aeschylus in the original Greek for the first time, and includes a reprint of D. L. Page's Oxford Classical Text of the play.
The introduction defines the place of Agamemnon within the Oresteia trilogy as a whole, and the historical context in which the plays were produced. It discusses Aeschylus' handling of the traditional myth and the main ideas which underpin his overall design: such as the development of justice and the nature of human responsibility; and it emphasizes how the power of words, seen as ominous speech-acts which can determine future events, makes a central contribution to the play's dramatic momentum. Separate sections explore Aeschylus' use of theatrical resources, the role of the chorus, and the solo characters. Finally there is an analysis of Aeschylus' distinctive poetic style and use of imagery, and an outline of the transmission of the play from 458 BC to the first printed editions.

In the year of 1924, George N. Randolph, a US Army captain stationed at Camp Gaillard in the Panama Canal Zone, sat at his desk and began writing his first love letter to Ruth Morrison, a woman he had fallen in love with at first sight. Being a military man, he began expressing himself in a definite, precise manner. The recipient of his letter was the principal of the English Speaking School of Gatun, in the Canal Zone. She immediately replied to his letter in her own softer, more descriptive manner. Thus began their love story.

In The Captain's Lady, the couple's daughter, Ellen Randolph Weatherly, shares the letters her parents penned to each other, complete with all the essential elements necessary in a spellbinding love story. The letters include commentaries involving historical events, political elections, pioneer history, humorous happenings, and life during the period of 1924.

Compiled exactly as they were written, the letters, and accompanying photographs, not only paint a picture of the times, but also narrate the tale of an enduring love story.

El contenido de este libro son las experiencias y
vivencias de la biografia su autora Dra. Miriam Valencia. Este tomo tiene: drama, romance, y
accion. Drama de su ninez y matrimonio por la violencia domestica y abusos emocionales y
fisicos que experimento. Romance, los abusos de fraudes que se llevaron a cabo por la inexperiencia
e ingeniosidad de creer en un romance a traves de la tecnologia, y accion por la experiencia
vivida cuando estuvo su vida en peligro de muerte. Tambien contiene un minucioso estudio
de guerra espiritual ya que fue envuelta por una doctrina falsa en la cual por inexperta
recibio abusos de seres espirituales demoniacos.
El proposito de este contenido es: Dar conocimiento a muchos afi cionados a la literatura para
darle una nueva experiencia a su vida y su alma y espiritu y puedan encontrar la paz que necesitan.
Vivimos en una era de grandes cambios, donde la necesidad del conocimiento apremia, los libros
pueden envejecer; pero la razon es apremiante de adquirir el conocimiento de otros. Lo triste es
cuando se ha llegado al pensamiento de que ya se aprendio todo; Y cuando refl exionamos nos damos
cuenta que apenas comenzamos, y asi lo. Establecio el Senor Dios todo poderoso en las sagradas
escrituras: Mi pueblo fue destruido, porque le falto conocimiento, yo te echare del sacerdocio; y porque
olvidaste la ley de tu Dios, tambien yo me olvidare de tus hijos. (Oseas 4:6).
Con todo respeto espera que El Dios Altisimo creador, a traves de su Hijo Jesus con la comunion
de su Santo Espiritu llene de bendicion, de amor y de paz su vida; son mis grandes deseos para todo
lector. Dra. Miriam Valencia"