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Nothing is quite what it seems in David Mamet's latest work. With a nod to his mentor, Harold Pinter, Mamet once again employs his signature verbal jousting in this battle of two women over freedom, power, money, religion—and the lack thereof. Broadway premiere, under the direction of the playwright, in fall 2012 starring Patti LuPone and Debra Winger.

In this gripping short play, David Mamet combines mercurial intelligence with genuinely Hitchcockian menace. The Cryptogram is a journey back into childhood and the moment of its vanishing—the moment when the sheltering world is suddenly revealed as a place full of dangers. On a night in 1959 a boy is waiting to go on a camping trip with his father. His mother wants him to go to sleep. A family friend is trying to entertain them—or perhaps distract them. Because in the dark corners of this domestic scene, there are rustlings that none of the players want to hear. And out of things as innocuous as a shattered teapot and a ripped blanket, Mamet re-creates a child terrifying discovery that the grownups are speaking in code, and that that code may never be breakable.

In David Mamet’s two-character play, a male college instructor and his female student sit down to discuss her grades and in a terrifyingly short time become the participants in a modern reprise of the Inquisition. Innocuous remarks suddenly turn damning. Socratic dialogue gives way to heated assault. And the relationship between a somewhat fatuous teacher and his seemingly hapless pupil turns into a fiendishly accurate X ray of the mechanisms of power, censorship and abuse.

Jean-Paul Sartre, the great French existentialist, displays his mastery of drama in NO EXIT, an unforgettable portrayal of hell. The play is a depiction of the afterlife in which three deceased characters are punished by being locked into a room together for all eternity. It is the source of Sartre's especially famous and often misinterpreted quotation "L'enfer, c'est les autres" or "Hell is other people", a reference to Sartre's ideas about the Look and the perpetual ontological struggle of being caused to see oneself as an object in the world of another consciousness.

Jo, the teenage heroine who lives in a filthy tenement bedsitter, is deserted by her nagging peroxided mother, who is unaware that her daughter is pregnant by a black sailor. Jo's greatest fear is that her illegitimate baby might be mentally deficient like her own father. To soothe, clean and cook for her is Geof, an effeminate art student, with whom she makes a temporary home. Bruised by insensitivity and rejection, the boy and girl find a very real comfort in each other.

Set in the early Thatcher years, Top Girls is a seminal play of the modern theatre, revealing a world of women's experience at a pivotal moment in British history. Told by an eclectic group of historical and modern characters in a continuous conversation across ages and generations, Top Girls was hailed as 'the best British play ever from a woman dramatist' by The Guardian.

A fresco similar to The Lamentation by Giotto that will revolutionize Western Art if proved to pre-date the master's work is unearthed in an abandoned church in Eastern Europe. The discovery causes a dramatic struggle as representatives from the worlds of art history, religion, and politics stake their claims for the ultimate prize. The unexpected arrival of twelve refugees sets events spiraling toward an explosive climax. This powerful play by the Tony Award winning adaptor of Nicholas Nickleby and author of numerous plays won the Evening Standard Award for Best Play of 1995.

The heroic Greek dramas that have moved theatergoers and readers since the fifth century B.C. Towering over the rest of Greek tragedy, the three plays that tell the story of the fated Theban royal family—Antigone, Oedipus the King and Oedipus at Colonus—are among the most enduring and timeless dramas ever written. Robert Fagles's authoritative and acclaimed translation conveys all of Sophocles's lucidity and power: the cut and thrust of his dialogue, his ironic edge, the surge and majesty of his choruses and, above all, the agonies and triumphs of his characters. This Penguin Classics edition features an introduction and notes by the renowned classicist Bernard Knox. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Written in 1959 and premiered at the Royal Court Theatre, London, on October 22 of that year. In Arden's introductory note to the text, he describes it as "a realistic, but not a naturalistic" play. The work follows three privates in the British Army and their sergeant, all of whom are deserters from a foreign imperialist war. Serjeant Musgrave and his men, Hurst, Sparky and Attercliffe, come to a northern English coal mining town in 1879. The community is in the grip of a coal strike and cut off by winter snow. The one means of reaching the town is by canal barge. They arrive in the company of the Bargee, a foul-mouthed, disrespectful individual who teases and abuses everyone, especially those in authority. In the local inn the soldiers meet Mrs. Hitchcock, who runs the inn, and the barmaid Annie. The soldiers are greeted by the mayor, parson and constable, who ask them to recruit men in hopes of alleviating some of the town's unemployment as a way to rid the town of their economic dead weight. Musgrave pretends that this is indeed his goal, and asks Mrs. Hitchcock about Billy Hicks, a dead fellow soldier from the mining town. It is revealed that Billy was the father of Annie's illegitimate child, but the baby died, and Annie's sanity has suffered from the loss of both Billy and her child.

Barry Champlain, Cleveland's controversial radio host, is on the air doing what he does best: insulting the pathetic souls who call in the middle of the night to sound off. Tomorrow, Barry's show is going into national syndication and his producer is afraid that Barry will say something that will offend the sponsors. This, of course, makes Barry even more outrageous. Funny and moving, off beat, outrageous and totally entrancing, Talk Radio had a long run at New York's Public Theatre starring the author.

The Ranyevskayas, a land owning family, are at the point of bankruptcy and are about to lose their estate. Lopakhin, a businessman, suggests they chop down the orchard and build houses. The family is horrified; the orchard represents the pleasant past, before the mysterious forces of the changing times threatened their idyllic existence. Lopakhin buys the land and proceeds to carry out his plan to destroy the orchard.

A subtle and revealing study of life in provincial Russia.