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Like Michael Powell's Peeping Tom, Steven Soderbergh's sex, lies and videotape presents us with a protagonist who can only connect with others through the lens of a camera. Graham is an enigmatic young man who returns to Baton Rouge from a long road trip, mildly irritating his old lawyer friend John and wholly intriguing John's housebound wife Ann. John is conducting a sneaky and entirely sexual affair with Ann's sister Cynthia. For her part, Ann has lost interest in sex, yet Graham's obscurely charming eccentricity stirs something inside her - until she learns that he is functionally impotent and can manage arousal only with the help of a video camera and a loose-lipped female. Nevertheless, it's the dragging into the open of Graham's dirty little secret that causes all of these characters to confront their own veiled deceits and hypocrisies.

In a large country house in Derbyshire in April 1809 sit Lady Thomasina Coverly, aged thirteen, and her tutor, Septimus Hodge. Through the window may be seen some of the '500 acres inclusive of lake' where Capability Brown's idealized landscape is about to give way to the 'picturesque' Gothic style: 'everything but vampires', as the garden historian Hannah Jarvis remarks to Bernard Nightingale when they stand in the same room 180 years later.

Passing Game is an exploration of guilt, retribution and disillusionment. Two once promising actors, one white and one black, have descended to doing commercials and voice overs. At a seedy, deserted resort, the two engage in increasingly violent basketball games while they plot to do away with their wives reminders of their failure. Unexplained killings have already occurred in the area and the two men hope the murderer will oblige by making their wives his next rifle fodder. Barring that, they make a pact to dispose of each other's wife. Others inhabiting this sinister locale are a creepy, gun toting caretaker, his nasty nephew and the nephew's former girl friend, a natural prey for these two predatory men. Murder does take place, but not the one they've planned.

The central character of the play is a rich bourgeois named Orgon, who in middle age has become a bigot and prude. The title character, a wily opportunist and swindler, affects sanctity and gains complete ascendancy over Orgon, who not only attempts to turn over his fortune but offers his daughter in marriage to his "spiritual" guide. It is only when Orgon witnesses Tartuffe's attempt to seduce his wife that he comes to his senses.

The dream-like setting is a walled community, from which the characters ceaselessly try to escape, without success. Only Don Quixote, who calls himself "an unashamed victim of romantic folly," has access to the outside, and finally Kilroy goes with him. Kilroy is a central figure, an ex-boxer, always the Patsy, the fall guy, who asks so little and always gets short-changed, but he never quits hoping. The other principal story is a romance between the aging, hunting Camille, and the fading Casanova, who yearns now only for tenderness and pathos as well as scenes of cataclysmic violence. The near escape of Kilroy, the battle to ride the escape plane, are hair-raising, as is the wild fiesta to crown "the tired old peacock, Casanova."

Cat on a Hot Tin Roof is the Pulitzer Prize-winning drama of the seething passions that beset a wealthy Southern family whose lives are stripped of pretense in a shattering moment of revelation.

A collection of three of Tennessee Williams' most popular plays, Sweet Bird of Youth, A Streetcar Named Desire, and The Glass Menagerie.

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In the history of postwar American art and politics, Arthur Miller casts a long shadow as a playwright of stunning range and power whose works held up a mirror to America and its shifting values. The Penguin Arthur Miller celebrates Miller's creative and intellectual legacy by bringing together the breadth of his plays, which span the decades from the 1930s to the new millennium. From his quiet debut, The Man Who Had All the Luck, and All My Sons, the follow-up that established him as a major talent, to career hallmarks like The Crucible and Death of a Salesman, and later works like Mr. Peters, Connections, and Resurrection Blues, the range and courage of Miller's moral and artistic vision are here on full display.

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The present volume gathers all of Beckett's texts for theatre, from 1955 to 1984. It includes both the major dramatic works and the short and more compressed texts for the stage and for radio.