How's a queen to keep her head in the middle of a revolution? Marie Antoinette delights and inspires her French subjects with her three-foot tall wigs and extravagant haute couture. But times change and even the most fashionable queens go out of style. In the humorous and haunting Marie Antoinette, idle gossip turns more insidious as the country revolts, demanding liberte, egalite, fraternite!

The war in Vietnam is over and Brad, an ex-serviceman, lands in L.A. to start a new life. When he winds up trashed in Connie and Linda's kitchen after a wild night of partying, the three strike a deal for an arrangement that has hilarious and devastating consequences for everyone. Inspired by 1970s sitcoms, 1950s existentialist comedy, Chekhov and Disco anthems, 3C is a terrifying yet amusing look at a culture that likes to amuse itself, even as it teeters on the brink of ruin.

Characters: 2m, 4f / Drama David Adjmi received the first ever Steinberg "Mimi" Playwright Award in 2009 Sixteen year old Lily knows nothing beyond the Syrian-Jewish community in Brooklyn where she lives a cloistered life with her much older husband. Soon an unlikely relationship with her enigmatic African-American maid opens Lily's world to new possibilities - but at a huge price. David Adjmi's daring new work shifts from caustic satire to violent drama as it exposes the ways we invent and defend our identities in the melting-pot of America. "Impossible to dismiss...An artist...whose next work I can't wait to see" -Hilton Als, The New Yorker "Virtuosic playwright David Adjmi nicely evokes an arrestingly skewed subculture onstage...coolly witty...A stinging portrait of an insular Syrian Jewish community in contemporary Brooklyn." -Jason Zinoman, The New York Times

"Nearly everything about David Adjmi's Stunning has an original ring to it, from the setting . . . to the brassy bleat of the dialogue." -Time Out New York

This volume of distinctive work includes Stunning, set in an insular Syrian Jewish community, where a teenage bride's world is disrupted by her intellectual African American housekeeper; Evildoers, about the collapse of two privileged couples; and Elective Affinities, a post-9/11 monologue.

David Adjmi's work has been produced at Lincoln Center Theatre, Yale Repertory Theatre, Woolly Mammoth, and the Royal Court in London. He has received numerous commissions and is the recipient of a 2009 Kesselring Fellowship and a Bush Artist Fellowship.

"The Methuen Drama Book of New American Plays" is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi's "Stunning," is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley's lyrical epic "The Road Weeps, The Well Runs Dry" deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee's "Pullman, WA" deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall's "Hurt Village "uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn's "Dying City" melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc's "The Big Meal," an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.