Full Length, Drama Characters: 3 male, 2 female 2 Interior Sets Isaac Geldhart, the imperious scion of a family owned publishing house, is under siege. A takeover is being engineered by his son Aaron, who sees the firm's profitability steadily declining and wants to publish a trashy novel to bring in the bucks. Isaac plans to go on publishing scholarly works such as a multi volume history of Nazi medical experiments. Aaron has the necessary yen from Japanese backers but he needs the votes of his brother and sister. Reluctantly, they side against the old man. The second act takes place in the library of Isaac's townhouse a few years after his forced retirement. He has become so irascible and eccentric that his children have asked the court to judge his competence. Isaac, who survived the Holocaust and transcended the death of his wife to build an important publishing company from scratch, faces his greatest challenge: persuading the psychiatric social worker that he is sane. "A deeply compassionate play." N.Y. Times "A remarkably intelligent drama." N.Y. Newsday.

Jon Robin Baitz has been praised as one of America's foremost playwrights on themes of conscience. Now from the author of The Substance of Fire comes an absorbing new play about power and money and the ruinous effects it can have on friendship, love, marriage, and ultimately oneself. In this modern tragedy set in urban New York City, Wall Street powerhouse Sandy Sonenberg finds his personal and professional life threatened by the unraveling secrets of his past. After burying his true sexual identity, a lethal affair with a young male associate forces Sonenberg to confront a lifetime of unrequited love and betrayal.

In 1890, Henrik Ibsen premiered Hedda Gabler, a play questioning the role of women in Victorian society. Some audiences have viewed Gabler as a woman driven to desperation simply because her world has turned out to be less charmed than she hoped. For others, she is a victim of her times, unwilling to devote herself, as was expected of her, to the duties of home.

Jon Robin Baitz has brushed away the cobwebs, and he serves as an ambassador from Ibsen's age to our own, preserving the intensity of the original but translating it into a spare, contemporary idiom. His adaptation provides an opportunity to understand the play through a lens shaped by feminism and a theatrical tradition beginning with Beckett. Trapped by the conventions of her age, Gabler is both a martyr and a female incarnation of Vladimir and Estragon, longing for a salvation that will likely never arrive.

Kenneth Lonergan is known for his trademark humor and genius for capturing the real heart and soul of human interactions. Time magazine raved that he is among our most gifted, unflinching and unpretentious new playwrights, and called his first play, This Is Our Youth, one of the ten best plays of 1998. With The Waverly Gallery, Lonergan has once again shown himself to have one of the keenest ears of any working playwright (Ben Brantley, The New York Times). A powerfully poignant and often hilarious play, The Waverly Gallery is about the final years of a generous, chatty, and feisty grandmother's final battle against Alzheimer's disease. Gladys is an old school lefty and social activist and longtime owner of a small art gallery in Greenwich Village. The play explores her fight to retain her independence and the subsequent effect of her decline on her family, especially her grandson. More than a memory play, The Waverly Gallery captures the humor and strength of a family in the face of crisis. You will be awed by Lonergan's writing. -- Christopher Isherwood, Variety; [Lonergan] has written a loving but brutal, commercial yet unflinching American family drama that knows about the simultaneous human systems of entertainment and agony. As anyone who cares about aging loved ones already knows, life on that particular edge is often so real you have to laugh. . . he is dead-on about family in all its simultaneous affection and irritation. -- Linda Winer, Newsday; A stirring and soulful, comic drama ... classically so, a la Glass Menagerie ... Waverly is often deeply funny. It is both painful and hilarious. -- Ben Brantley, The New York Times

In OTHER DESERT CITIES, Brooke Wyeth returns home to Palm Springs to visit her parents after a six-year absence. A once-promising novelist, she announces to her family the imminent publication of a memoir dredging up a pivotal and tragic event in the family's history - a wound that her parents don't want reopened. Brooke has come home to draw a line in the sand and is daring her family to cross it. Her brother won't play her game; her aunt knows way too much, and her parents fall into all their old routines as they plead with her to keep their story quiet. In this family, secrets are currency and everyone is rich. In simplest terms, the play is about a girl who comes home to the desert with a story about where she is from, who her people really are, what she thinks they really are. Her parents represent an Establishment that she feels has betrayed this country. She goes to war with them, and blood is spilled.