Short Plays, Comedy

Charatcers: 2 male, 2 female

3 interior sets

Consists of The Way of All Fish, Virtual Reality and In and Out of the Light, three short plays about the collision of wills that were an Off Broadway comedy sensation starring the authors.

"Classic comedies ... with subversive details that keep catching you off guard.... The evening ... percolates with actorly inventiveness and a willingness to pursue a warped logic step by step into the land of absurdity. Has a heady sense of discovery, of seeing prototypical situations being twisted and spun to the point of dizziness, of disparate comic minds bouncing off each other."-N.Y. Times

"A giddy delight."-N.Y. Post

"Hilarious as well as thoughtful."-N.Y. Daily News

In 1960, the FDA approved the contraceptive commonly known as "the pill." Advocates, developers, and manufacturers believed that the convenient new drug would put an end to unwanted pregnancy, ensure happy marriages, and even eradicate poverty. But as renowned historian Elaine Tyler May reveals in "America and the Pill," it was women who embraced it and created change. They used the pill to challenge the authority of doctors, pharmaceutical companies, and lawmakers. They demonstrated that the pill was about much more than family planning--it offered women control over their bodies and their lives. From little-known accounts of the early years to personal testimonies from young women today, May illuminates what the pill did and did "not" achieve during its half century on the market.

Veteran motion picture, television, and Broadway producer Julian Schlossberg grew up in New York City with an early love of entertainment. As a child, he was an avid fan of radio, film, and the new art of television, and harbored ambitions of meeting his favorite stars one day. Little did he know that in the course of his career, he would not only meet many of them, but also become their producer, representative, and friend.   During his nearly 60 years in show business, Schlossberg has worked as a producer, director, distributor, exhibitor, radio and television host, and record executive. At 27 he was the youngest head film buyer of a national theater chain; after working at the ABC network, the Walter Reade Organization, and Paramount Pictures, he would start his own motion-picture company, Castle Hill Productions, which would become one of the largest independent film-distribution companies in the world with a library of over 500 films. Not willing to restrict his efforts to film and television, he has also produced award-winning plays and musicals for Broadway and off-Broadway, working closely with brilliant writers and directors like Mike Nichols, Larry Gelbart, Susan Stroman, Woody Allen, and David Mamet.   Now, in his memoir Try Not to Hold It Against Me, Schlossberg shares stories from a lifetime in entertainment, from his childhood in the Bronx to his years as a producer for screen and stage. Schlossberg takes us through the trials and triumphs of work and play in every avenue of the business: negotiating with Al Pacino, Burt Reynolds, and Lillian Hellman; hosting the syndicated radio and television production Movie Talk, which introduced him to hundreds of stars; experiencing the paranormal with Shirley MacLaine and Betty Hill; running the Orson Welles estate and restoring Welles’ masterly film adaptation of Othello; partying with Barbra Streisand and Liza Minelli; testifying in a lawsuit against The Beatles; and interviewing over 120 of the most influential figures of the 20th century for his series Witnesses to the 20th Century.   Written with engaging humor and self-deprecation—and with a foreword by Academy Award winner Elaine May—Try Not to Hold It Against Me gives readers a behind-the-scenes pass to Cannes and Las Vegas, the lives and homes of the stars, and the rarely seen but crucial work of the producer in the midst of it all. It’s a compelling read for film, television, and theater enthusiasts alike—and a one-of-a-kind autobiography by one of entertainment’s true insiders.

When Homeward Bound first appeared in 1988, it forever changed the way we understand Cold War America. Previously, scholars understood the post-World War II era as a time when Americans turned away from politics to enjoy the fruits of peace and prosperity after decades of depression and war, while their leaders remained preoccupied with the Soviet threat and the dangers of the Atomic Age. Homeward Bound challenged the idea of an apolitical private arena, demonstrating that the Atomic Age and the Cold War were not merely the concerns of experts and policy makers, but infused American life on every level, from the boardroom to the bedroom. As Elaine Tyler May argues, the official foreign policy of "containment" toward the Soviet Union had a domestic corollary, in which the perceived dangers of the age--nuclear war, communist subversion, consumer excess, sexual experimentation, and women's emancipation--were "contained" within the family, an institution now expected to fulfill its members hopes and dreams for security and the good life in the midst of a frightening world. "Domestic containment" is now the standard interpretation of the era, and Homeward Bound has become a classic. This new edition includes an updated introduction and a new epilogue examining the legacy of Cold War obsessions with personal and family security in the present day.