In POT BOUILLE, the well-known French novelist Emile Zola and dramatist William Busnach combine their talents to unmask the hypocrisy that hides behind the facade of a respectable and fashionable Parisian apartment house. The Josserands are struggling to make ends meet, and at the same time to marry off their two daughters to prosperous businessmen. At the heart of this broken family is a weak husband and domineering, spendthrift wife, who between them create two willful children who are doomed to unhappy lives. The sly and adulterous Berthe seduces a shop owner into marriage, and Hortense eventually runs off with the man she loves--knowing he'll never marry her. The result is an unflattering portrayal of a corrupt, immoral society at the heart of French life in the late nineteenth century. Based on one of the great novels of modern literature

Four short French plays that resurrect tales by authors better known for their fiction. MADEMOISELLE FIFI, adapted by Oscar Metenier from a story by Guy de Maupassant, describes an incident during the German occupation of France after the Franco-Prussian War of 1870. The officers of an isolated German regiment send to Rouen for prostitutes, but Lt. Wilhelm, better known as Mademoiselle Fifi, mistreats one of the girls, leading to a fatal confrontation. MEETING, adapted by Lucien Mayrargue from a story by Guy de Maupassant, tells of a sailor who returns home after ten years, only to have his savings stolen by the pimp of the girl he sleeps with. In JACQUES DAMOUR, by Emile Zola and Leon Hennique, a man believed dead returns home, only to find that his wife has remarried a prosperous butcher. Finally, in Emile Zola's opera libretto, LAZARUS is raised from the dead by Jesus, only to object to being brought back to life. Four great dramas dealing with life--and death

Emile Zola (1840-1902) was one of France's greatest novelists of the nineteenth century, being most famous as a writer for Nana (the story of a courtesan), and in the political world for his role in exposing the frame-up of Captain Dreyfus. However, he had limited success as a dramatist until he partnered with William Busnach, an Algerian Jew. This adaptation of the Zola novel of the same name is a powerful expose of life among the working poor, and the ravaging effects of alcholism on average, decent folk. If fact, what's most striking in this play is how human the workers are, certainly not the "animals" described by opponents of Zola's works. The destruction of a family is portrayed with clinical realism, but also with sympathy and understanding, as each of the characters gradually emerges as a sympathetic (or at least understandable) person in his or her own right. First-rate drama by a master writer

Based on the bestselling novel of the same name by Joseph Conrad (1857-1924), Lord Jim tells the story of the Third Mate aboard the ship Patna. When the vessel is holed, Jim freezes and abandons his post, leaving the 800 passengers to their fate. But the ship does not sink, and although the ensuing inquest only strips Jim of his license, the imputation of cowardice is more than the man can bear. He settles in an Asian backwater state and eventually comes to grips with his past, being driven to acts of apparent heroism to prove his worth to others--and especially to himself. But to Conrad, Jim's sacrifice merely proves that he really was a coward after all. First-rate drama

Based on Zola's 1867 novel, and dramatized by the author in 1873, this play is almost a French version of the Russian novel, Crime and Punishment. Therese and her lover, Laurent, decide to kill her likable but sickly husband, Camille (also her husband), and succeed in doing so without arousing any suspicion. The boating accident that ends Camille's life also makes Laurent a hero for rescuing Therese. The lovers remain apart for a year, until friends of the family suggest they marry. But both are remorseful and guilt-ridden. Finally, Therese's mother discovers the truth, but suffers a stroke and cannot speak. She just stares at them, and her presence drives the lovers down the path to destruction. A powerful and believable story that plays well even today.

A rare 1826 French play by master fantasist Charles Nodier revisits the legend of Frankenstein, recasting the legendary scientist as a sorcerer and his Monster as a mute killer from Hell. The Hunchback of Notre-Dame was adapted and rewritten by Victor Hugo himself into a stage play that throws new light on the classic tragedy. These two never-before-translated masterpieces are supplemented by an all-new story by translator Frank J. Morlock (Lord Ruthven), in which the Frankenstein Monster travels back in time to save Quasimodo, but does not count on the intervention of - Dracula! Three tales featuring the two most tragic monsters in the history of Gothic literature.

Paul de Kock and Adolphe Guenee present a humorous dramatic prequel to the well-known Alexandre Dumas tale of The Three Musketeers. The four would-be adventurers--D'Artagnan, Aramis, Porthos, and Athos--serendipitously encounter each other at an inn outside of Paris, the city where they're heading to escape their present situations and find their fortunes. They also meet there a beautiful noblewoman fleeing an unwanted marriage imposed on her by Cardinal Richelieu--and the girl's elderly husband, the lecherous Marquis. Back and forth across France they chase each other, seeking to rescue the woman's good name. While the drama can be intense at times, it's all in good fun, and ultimately, of course, everything works out for the best--with the four gentlemen earning their commissions as King's Musketeers

Four French comedies on marriage, love, and manners. In THE WIDOW A LA MODE, by Jean Donneau de Vise, the death of an aged husband forces his young widow and other members of his family to scramble quickly to save their fortunes while pretending to be overcome with grief. WAYWARD WENCHES, by Jean-Francois Regnard, is a collection of skits about bad girls who've gone wrong. Michel Baron's THE ABDUCTIONS is a one-act farce about the vagaries of love in a country setting, including cross-dressing and knock-about slapstick shenanigans. Alain-Rene Lesage's THE SCHOOL FOR LOVERS is a comic fantasy opera about what makes romance last--and what kills it. A magician whisks young men and women to an enchanted isle--where they become bored to death with love The characters in these plays are still recognizable, even in modern settings; and this quartet of comedies still makes us laugh. Great entertainment

Three French comedies of love and marriage. Charles Favart contributes two comic operas of considerable verve and humor. In THE DISGUISED LOVER, Julie pretends to be a man, and Clitandre pretends to be a peasant. But it's all in good fun, and while the play doesn't take itself seriously, all's well that ends well. RUSTIC AMOURS is a strange but effective blend of classical opera themes (shepherds and shepherdesses in love), combined with satire about Parisian fops and uncouth peasants--all of whom love the same beautiful shepherdess. Philippe Destouches' TRIPLE MARRIAGE is a beautifully-constructed one-act comedy about marriages that are--from the eighteenth-century high society's point-of-view--inappropriate. Old Matthews wants to marry again, but conceals his desire from his son and daughter, both of whom wish to marry as well--but not the rich old spouses their father has selected for them. Ultimately, the children take matters into their own hands. All three plays could easily be adapted to the modern stage, since their themes are universal.

THE LUCKY MAN is the story of a handsome, conceited young man who's the devil with the ladies. Cadwell flits from one woman to another, always in search of more adventures, always deceitful, never getting caught, always promising his love--and never giving anyone what he doesn't possess himself. This ultimate womanizer goes about blithely wrecking the lives of women (and their beaus) alike, until--until a cadre of his rejected lovers get together to trap him through his own ego. And even then...even then there are those who are willing to forgive him Cadwell and his loves are perfectly recognizable, even in the guise of 1683 characters--and this play is eminently enjoyable and presentable to modern audiences. A thoroughly entertaining comedic drama

In 1828 a young man in rags appeared in the German city of Nurnberg, saying that he'd been kept isolated in a dungeon all of his life. Was he the bastard offshoot of some noble or royal family, secreted away to preserve the honor of the house? Within a few months he was dead under mysterious circumstances, his mystery still unsolved. CASPER HAUSER uses the uproar caused by Hauser's emergence to focus the white heat of the authors' indignation on the systematic maltreatment of individuals solely to spare the feelings of the rich and powerful elements of society. The anger of the playwrights permeates this straightforward, exceptionally powerful tale of a young man who never had a chance of living a normal life. The drama still plays well to a modern audience

Dumas wrote and staged Henri III (1829) before Hugo weighed in with the more famous Hernani (1831). It was the opening salvo in the war between The Romantics and the Classicists. Dumas' play was less controversial and more successful than Hugo's play. Dumas' hero, Saint Megrin, a fiery opponent of the Duke of Guise and a favorite of Henry III is also in love with the Duke's wife. Saint Megrin's partiality for the King also has brought him into conflict with Henry's unscrupulous mother Catherine de Medici, who decides to rid herself of both Guise and Saint Megrin by fostering the thus-far Platonic relationship between the Duchess de Guise and her would be lover. This she manages with the aid of the Astrologer Ruggieri, and brings about the ruin of Saint Megrin. All set against the background of magic, superstition, and religious fanatacism preceding The Saint Bartholomew's Day Massacre. It also makes interesting reading when read against Dumas' later dramatization of his novel La Reine Margot (Queen Margot), also published by Borgo/Wildside.

Two plays attacking the principles of Denis Diderot, Jean-Jacques Rousseau, and other French philosophers of the eighteenth century. In THE PHILOSOPHERS, the treacherous, self-centered charlatans (as Palissot viewed them) persuade Cydalise that she's a genius, in order to entice her to marry her well-endowed daughter to one of their number. Actually, they despise the woman and her opinions--a fact which is soon revealed to her THE STUMBLING BLOCK OF MORALS also revolves around the attempts of "The Philosophers" to unite a young woman--in this case Rosalie--with an unsuitable (and insufferable) member of their own group, rather than to the more pedestrian Honore, who she's come to love. In the end, of course, everything works out for the best, with the machinations of the pedants revealed for what they are. Two quasi-comedies of life, philosophy, and love.

Four French comedies by Jean-Francois Regnard (with Charles Dufresny), who's considered to be the best comic playwright of his age after Moliere. The sardonic and amusing THE TREE OF CHASTITY has a slight plot, but the double-entendres flying rapidly right and left keep the audience well-entertained. WAIT FOR ME UNDER THE ELM is another farce filled with verve aplenty. THE UNFORESEEN RETURN is a reworking of Plautus' Haunted House with a seventeenth-century setting. THE RIDICULOUS MERCHANT is another comedic romp. These bubbly, even obscene farces still hold up well today, with all of the characters and their situations eminently recognizable to modern audiences. Great dramatic fun

These eight short plays by Louis Carmontelle, Thomas Gueulette, Jan Potocki, and Russian Empress Catherine II the Great (of all people ) were all the rage in eighteenth-century France--short skits that could easily be performed by amateur companies. Since they weren't writing "literature," the authors of these pieces could create anything without adhering to the "dramatic rules." And invent they did Bawdy, even obscene humor permeates many of these works. All of them are wacky, anything-for-a-laugh comedies with little or no attention paid to logic, plots, or themes--just a series of zany, lewd, funny actions near enough to reality to be slightly discomfiting to the popular audiences who loved them. And they still remain as sidesplitting today as they were 200 years ago

Three French comedies focusing on Parisian women and their intricate love lives. MIMI PINSON, by Jean Bayard and Philippe Dumanoir, is a carefree, self-supporting, independent woman. She's a grisette (working girl) who loves as she pleases, doesn't care about money, and is both happy and charming in her simple life. THE TYPE YOU DON'T MARRY, by Edouard Pailleron, tells the tale of the girl Adrienne, who after being a mistress for six years, finally succeeds in marrying her lover. Love triumphs over morality, as the lover gives up a potentially good marriage and his family to remain with the woman he loves. MARRIED SINCE NOON, by William Busnach and Armand Liorat, is a monologue by a girl, Estelle, who's just married. She's a bit naive and volatile, but utterly charming in her simplicity. Three very funny plays that could still be presented today

Two French comedies of love and life and the relations between men and women. In THE VILLAGE COQUETTE a Widow trains a country girl, Lisette, in the ways of a Parisian coquette, thinking to make her into an image of herself; but finds that her protegee has become too apt a pupil for the Widow's own comfort, and threatens to steal the older woman's own lover. THE CRAZY WAGER features some unusual gender-bending for the time. Tiggs, an older man camouflaged as a rich woman (the Marquise), pretends to love Angelica, who adopts the guise of a young, handsome Count--while the "Count" pretends to love the aging Mrs. Hardwick, so she can actual marry the widow's handsome son, Phillip. Both plays possess great vivacity and are full of laughter and fun.

Two French comedies focusing on life and love. In STRAIGHT FROM THE CONVENT, a rich old man would like to marry a girl who's just emerged from the convent. Her mother wants her to cement the union because she has no money--and would like to see her daughter well-established. Needless to say, the girl thinks otherwise, and "innocently" manages to collect three other suitors THE INTERRUPTED WEDDING is about an impoverished Count and Countess who are always at odds with each other. They have just one servant, Adrien, who doubles as a valet and femme de chamber. The dirty old Count wants to marry Lucas, a peasant, to Nanette, so he can get at the girl himself. But Lucas demands a dowry, and the nobleman has no money. Then the Countess gets wind of her husband's real intentions... Two swift-moving and very funny farces that would play well even today

Here are four plays by the well-known American dramatist, Frank J. Morlock. THE KEY TO THE GREAT GATE, based on a novel by Hinko Gottlieb, is set in 1942 Vienna, where four Jews have been imprisoned by the Nazis. The newest inmate, Tarnopolski, has learned to manipulate the space-time continuum. His ability to shrink and expand objects--including people--creates consternation among both the prisoners and their guards. This is a moving story about the power of the human spirit to survive the most appalling conditions. HEROES AND ROMANTICS OF OUR TIMES, based on a play by Henri Duvernois, is set in small-town America, where the corrupt Sheriff gets his kicks by having his girlfriend pretend she's a whore--until she becomes disgusted with the way he handles a homeless man who finds a fortune on the street. LADY LIBERTY, another adaptation from Duvernois, focuses on an inmate in a sanitarium who's placed himself there deliberately to escape his nagging wife--until, that is, she decides that she can't live without him THE WRITING LESSON, based on a story by Ilya Ilf and Yevgeni Petrov, is a comedy of the difficulties of writing professionally under the Stalinist regime. Four great plays focusing on the plight of the underdog

Two comedies by a cousin of French King Louis XIV. THE SPIRIT OF CONTRADICTION is an hilarious play about a woman whose sole aim in life is to prevent others (mostly in her own family) from getting their way. So contrary is she to anything that's suggested to her that her husband, daughter, and in-laws must conceal, as best they can, their real wishes. But she knows they know--and this creates absolutely side-splitting situations. This extremely popular comedy had more performances by the Comedie Francaise through 1900 than other play in its repertoire. THE DOUBLE WIDOWING is based on a similar premise: a husband and wife hate each other (and are too hypocritical to say so), but are drawn to their niece and nephew, respectively. This attraction is not reciprocated by the young people, who are in love with each other, but lack the money to marry. The youngsters have to work through a charade to convince their elders to back their union. Two brilliantly funny plays that still hold up well today