Recently paroled con artist Danny Ocean is a man who keeps his cool in situations unlikely to make any individual comfortable. No sooner does he violate his parole that he's travelling around the country gathering people for his next big schemes: to rob three casino's owned by the ever ruthless Terry Benedict. With the aid of a right hand man named Dusty, a thief out of retirement, a pickpocket, a card dealer, a surveillance man, a Chinese acrobat, an explosives expert, two frontmen, and a bitter casino mogul, they make up Ocean's eleven, out to make one very score.

Jimmy is a semi-successful artist and playboy approaching middle age, when he decides it's time to step up and try love maybe before it's too late. He meets Rose, she's different in all the right ways. The head on her shoulders and her family values juxtaposed with Jimmy's childhood trauma and lack of family values makes for a potent match. But unexpectedly, with in the first year of the romance, she gets pregnant things get all too real, too quickly. The complexities of making a new relationship work, while raising a small child, ultimately tear them apart. Donnie, Jimmy's closest friend, is going through a divorce that almost takes him down. After a long indecisive battle, he somehow makes it through, gets in shape, and with the help of modern technology makes a solid run at reliving his twenties. He pulls Jimmy along with him, forcing him into a date with a young, sharp and fierce gal named Binky, who basically ends up taking Jimmy to school. A night of sex, drugs, and a near-death experience lands Jimmy right back at square one, only now with a deep and painful longing for the family he started and subsequently walked away from. This Isn't 40 explores the changing times for men and women, the effects of childhood cautionary tales, and the choices we make for the next generation.

A collection of eleven one- and two-act plays. With hints of Samuel Beckett, Sam Shepard, Neil LaBute, and Tracy Letts, Scott Caan grapples with the emotional interiors of people in a fractured world. Whether writing about actors, lovers, or co-workers, Caan takes on the complicated tension between what we say and what we feel, how we grapple with the world publicly and privately, and what that difference says about us as people. Caan's training as an actor imbues his words with a sense of play and the characters he leaves other actors to create within these plays are deep and open to interpretation. The Performance of Heartbreak and Other Plays is the introduction of an exciting new voice in American theater.