On the Verge or the Geography of Yearning (Acting Edition)

Overmyer, Eric

Broadway Play Publishing

In a futuristic city, one man tells it like he sees it Hungry Mother! He's the DJ with a strong pulse but a weak signal. He riffs on the truth with verbal virtuosity, with primal passion, with ambidextrous dexterity, with a sexy scream ... but when his visions begin to manifest themselves in sinister ways, is he being played by darker forces? Or are his words creating a dangerous truth?

Native Speech

Literature & Fiction

Eric Overmyer

Dramas & Plays

this collection contains three full-length plays: LET'S PLAY TWO, THE LIVING, &amp; SHOW AND TELL

Plays By Anthony Clarvoe

Clarvoe, Anthony

this collection contains six one-acts: BONE THE SPEED, CARWASH, CONRAD ON THE VINE, ETHIOPIA, THE MAN WHO ATE EINSTEIN'S BRAIN, & PRECISION MACHINES. Louis Phillips is one the most inventive and imaginative playwrights in the United States: BONE THE SPEED. A spoof about the ultimate snake-pit: Hollywood. With a nod to David Mamet's SPEED-THE-PLOW, and any number of other works on that subject. 2 M, 1 F. CARWASH. A comic surrealistic nightmare when a man's car disappears at the carwash. 2 M, 1 F. CONRAD ON THE VINE. Imagine Joseph Conrad alive today and being interviewed on a television talk-show. 3 M, 1 F. ETHIOPIA. A totalitarian future where food is so scarce that people pay to watch others eat. Cast: 2 M, 1 F (nuclear family), plus a waiter. THE MAN WHO ATE EINSTEIN'S BRAIN. The title of this play says it all. 2 M, 1 F. PRECISION MACHINES. Inanimate objects take on a life of their own. 1 M, 1 F.

Plays by Louis Phillips

Phillips, Louis

Louis Phillips

his collection contains three full-length plays: BLINK OF AN EYE, THE HANDLESS MAIDEN, &amp; NOTIONS IN MOTION

Plays by Jeremy Dobrish

Jeremy Dobrish

Dobrish, Jeremy

Plays By Phil Bosakowski

Bosakowski, Phil

his collection contains three full-length plays: A SMALL DELEGATION, ALMOST IN VEGAS, &amp;THE AGREEMENT

Plays by Janet Neipris

Neipris, Janet

This collection contains three full-length plays: APPROACHING SIMONE, BABES IN THE BIG HOUSE, &amp; VIET ROCK

Plays by Megan Terry

Terry, Megan

NOCTURNE:   "'There's a finality in fact,' says the narrator of Adam Rapp's grief-laden monologue NOCTURNE, a stunning confrontation with truth that spares neither the character or the audience.   The fact, simply stated, is this: `Fifteen years ago I killed my sister.' So says a young man identified only as the Son, who accidentally decapitates his sibling in an auto accident and then attempts to come to terms with what he has done.   This reconciliation forms the heart and soul of NOCTURNE, a startling, unnerving work of art that fiercely pushes the boundaries of theater. The play...is dense, almost novelistic, in its approach to a personal horror story.   NOCTURNE... is also intensely lyrical, musical in its sounds and in its silences.   Make no mistake. Rapp is an original-a distinctive voice unafraid to be too descriptive..."Michael Kuchwara, Associated PressANIMALS AND PLANTS:   "Rough-spoken, raunchy, and sometimes guffawingly funny, award-winning playwright and novelist Adam Rapp's ANIMALS AND PLANTS is very different from his NOCTURNE...   The sheer liveliness of Rapp's dialogue and his multifaceted characters keep his play afloat......a lurid comic phantasmagoria of life on the underside of Middle America."Markland Taylor, VarietyBLACKBIRD:   "...a terrifically impressive British debut for new U S playwright Adam Rapp. Froggy and Baylis are two wrecked drifters in a New York squat...   BLACKBIRD could, in the hands of a lesser dramatist, be a crude mix of in-your-face grunge and sentimentality...   ...actually, the squalor here is both appalling and cryingly funny and Rapp has a brilliant ear for talk."The Independent   "There is a strange tenderness in Rapp's writing that marks him out as one to watch.   Rapp has genuine Gorky-esque talent and loves his characters as all-consumingly as they do each other."The Guardian

Plays by Adam Rapp

Rapp, Adam

RUBBERS and YANKS 3 DETROIT 0 TOP OF THE SEVENTH: "...they were undeniably funny... RUBBERS has a young woman member of the Assembly desperately trying to get a bill through that would require pharmacists to place contraceptives on public display. The response this receives from her fellow members is immediate, explosive and often very amusing. Mr Reynolds offers some whimsical caricatures of Assemblymen... In the second play, Mr Reynolds does keep rather closer to the real world, with an aging, fading baseball pitcher who is on his way out and frantically knows it. With his ethnic jokes and crass materialism there is nothing very attractive about Emil (Duke) Bronkowski paranoidly facing high noon on the mound. And yet seeing him assailed by the opposing team--all markedly younger and mocking men--his own catcher (he has the only catcher in the major leagues who wants his pitcher to call him "Mister!") and his coach...one has to feel some basic sympathy." Clive Barnes, The New York Times FIGHTING INTERNATIONAL FAT: "Jonathan Reynolds is a playwright with what may be a quixotic goal. He proposes to appeal to intelligent theatergoers the old-fashioned way, by providing an experience that expands the audience's vision instead of reaffirming what it already knows.... In FIGHTING INTERNATIONAL FAT, two women--leading diet promoters--are locked in a titanic struggle for the opportunity to proselytize their respective positions on a leading television talk show, presided over by the man who happens to be `the sex object of every red-blooded American woman'. Both women will stop at nothing to win over the talk show host, who is under pressure to provide his voracious viewers with revelations five days a week." Gaby Rogers, The New York Times STONEWALL JACKSON'S HOUSE: "The gloves come off early in STONEWALL JACKSON'S HOUSE, Jonathan Reynolds' caustic comic tirade against political orthodoxy. A woebegone black guide leading a group through the haphazardly restored home of the Confederate general suddenly stops the tour to ask a well-to-do white couple from Ohio if she can come home with them, as their slave. It's a provocative moment: where is this playwright, who so deliciously savaged film making fifteen years ago in GENIUSES, headed with this tasteless conceit? Mercifully, not to a scene depicting modern slavery. The revolving panels of the play's simple set are eventually pushed aside to reveal the rehearsal room of a small theater company whose self-righteous administrators, interviewing playwrights for the new season, denounce the play the audience has just sampled. With that, Mr Reynolds climbs on his soapbox for an ambling, funny, cranky and highly entertaining diatribe against all the agenda-laden forces and high-minded programs (especially of the liberal stripe) that he believes have conspired to wring common sense out of American political and cultural life. Affirmative action, political correctness, nontraditional casting, the welfare state, black studies, ethnocentrism, multiculturalism: Mr Reynolds pushes so many buttons he could have staged the play in an elevator.... You don't have to agree with Mr Reynolds' inexhaustible supply of opinions to get a kick out of this.... The plot of STONEWALL JACKSON'S HOUSE takes several outrageous turns, culminating in a hilariously radical restaging of the tour-guide scene along lines more politically palatable to the theater company's old guard.... But maybe a little more unvarnished spleen-venting is just what the theater needs." Peter Marks, The New York Times

Plays By Jonathan Reynolds

Reynolds, Jonathan

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