A landmark American drama that inspired a classic film and a Broadway revival--featuring an introduction by David Mamet

A blistering character study and an examination of the American melting pot and the judicial system that keeps it in check, Twelve Angry Men holds at its core a deeply patriotic faith in the U.S. legal system. The play centers on Juror Eight, who is at first the sole holdout in an 11-1 guilty vote. Eight sets his sights not on proving the other jurors wrong but rather on getting them to look at the situation in a clear-eyed way not affected by their personal prejudices or biases. Reginald Rose deliberately and carefully peels away the layers of artifice from the men and allows a fuller picture to form of them--and of America, at its best and worst.

After the critically acclaimed teleplay aired in 1954, this landmark American drama went on to become a cinematic masterpiece in 1957 starring Henry Fonda, for which Rose wrote the adaptation. More recently, Twelve Angry Men had a successful, and award-winning, run on Broadway.

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.

A haunting examination of groupthink and mass hysteria in a rural community

A Penguin Classic

I believe that the reader will discover here the essential nature of one of the strangest and most awful chapters in human history, Arthur Miller wrote in an introduction to The Crucible, his classic play about the witch-hunts and trials in seventeenth-century Salem, Massachusetts. Based on historical people and real events, Miller's drama is a searing portrait of a community engulfed by hysteria.

In the rigid theocracy of Salem, rumors that women are practicing witchcraft galvanize the town's most basic fears and suspicions; and when a young girl accuses Elizabeth Proctor of being a witch, self-righteous church leaders and townspeople insist that Elizabeth be brought to trial. The ruthlessness of the prosecutors and the eagerness of neighbor to testify against neighbor brilliantly illuminate the destructive power of socially sanctioned violence.

Written in 1953, The Crucible is a mirror Miller uses to reflect the anti-communist hysteria inspired by Senator Joseph McCarthy's witch-hunts in the United States. Within the text itself, Miller contemplates the parallels, writing: Political opposition...is given an inhumane overlay, which then justifies the abrogation of all normally applied customs of civilized behavior. A political policy is equated with moral right, and opposition to it with diabolical malevolence.

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.

It is a very short list of 20th-century American plays that continue to have the same power and impact as when they first appeared--57 years after its Broadway premiere, Tennessee Williams' A Streetcar Named Desire is one of those plays. The story famously recounts how the faded and promiscuous Blanche DuBois is pushed over the edge by her sexy and brutal brother-in-law, Stanley Kowalski. Streetcar launched the careers of Marlon Brando, Jessica Tandy, Kim Hunter and Karl Malden, and solidified the position of Tennessee Williams as one of the most important young playwrights of his generation, as well as that of Elia Kazan as the greatest American stage director of the '40s and '50s.

Who better than America's elder statesman of the theater, Williams' contemporary Arthur Miller, to write as a witness to the lightning that struck American culture in the form of A Streetcar Named Desire? Miller's rich perspective on Williams' singular style of poetic dialogue, sensitive characters, and dramatic violence makes this a unique and valuable new edition of A Streetcar Named Desire. This definitive new edition will also include Williams' essay The World I Live In, and a brief chronology of the author's life.

TV Script for the Emmy-award-winning courtroom drama Twelve Angry Men, concerning the jury of a homicide trial. It explores the deliberations of a jury of a homicide trial, in which a dozen men with ties and a coat decide the fate of a teenager accused of murdering his abusive father. At the beginning, they are nearly unanimous in concluding the youth is guilty. One man dissents, declaring him not guilty, and he sows a seed of reasonable doubt but the others are not convinced. What will the jury decide on as a final verdict?

A comedic romp into the world of fantasy role-playing games, in a new edition created specially
for High School performing groups! She Kills Monsters tells the story of high schooler
Agnes Evans as she deals with the death of her younger sister, Tilly. When Agnes stumbles
upon Tilly's Dungeons & Dragons notebook, she finds herself catapulted into a journey of
discovery and action-packed adventure in the imaginary world that was her sister&rs

THE STORY: When Elwood P. Dowd starts to introduce his imaginary friend, Harvey, a six-and-a-half-foot rabbit, to guests at a society party, his sister, Veta, has seen as much of his eccentric behavior as she can tolerate. She decides to have him committed to a sanitarium to spare her daughter, Myrtle Mae, and their family from future embarrassment. Problems arise, however, when Veta herself is mistakenly assumed to be on the verge of lunacy when she explains to doctors that years of living with Elwood's hallucination have caused her to see Harvey also The doctors commit Veta instead of Elwood, but when the truth comes out, the search is on for Elwood and his invisible companion. When he shows up at the sanitarium looking for his lost friend Harvey, it seems that the mild-mannered Elwood's delusion has had a strange influence on more than one of the doctors. Only at the end does Veta realize that maybe Harvey isn't so bad after all.

Menagerie was Williams's first popular success and launched the brilliant, if somewhat controversial, career of our pre-eminent lyric playwright. Since its premiere in Chicago in 1944, with the legendary Laurette Taylor in the role of Amanda, the play has been the bravura piece for great actresses from Jessica Tandy to Joanne Woodward, and is studied and performed in classrooms and theatres around the world. The Glass Menagerie (in the reading text the author preferred) is now available only in its New Directions Paperbook edition. A new introduction by prominent Williams scholar Robert Bray, editor of The Tennessee Williams Annual Review, reappraises the play more than half a century after it won the New York Drama Critics Circle Award: More than fifty years after telling his story of a family whose lives form a triangle of quiet desperation, Williams's mellifluous voice still resonates deeply and universally. This edition of The Glass Menagerie also includes Williams's essay on the impact of sudden fame on a struggling writer, The Catastrophe of Success, as well as a short section of Williams's own Production Notes. The cover features the classic line drawing by Alvin Lustig, originally done for the 1949 New Directions edition.

Our Town] leaves us with a sense of blessing, and the unspoken but palpable command to achieve gratitude in what remains of our days on earth. -- The New Yorker

Thornton Wilder's Pulitzer Prize-winning drama of life in the mythical village of Grover's Corners, New Hampshire--an allegorical representation of all life--is an American classic. It is the simple story of a love affair that asks timeless questions about the meaning of love, life, and death.

Our Town explores the relationship between two young neighbors, George Gibbs and Emily Webb, whose childhood friendship blossoms into romance, and then culminates in marriage. When Emily loses her life during childbirth, the circle of life portrayed in each of the three acts--childhood, adulthood, and death--is fully realized.

Widely considered one of the greatest American plays of all time, Our Town debuted on Broadway in 1938 and continues to be performed daily on stages around the world. This special edition includes an afterword by Wilder's nephew, Tappan Wilder, with illuminating documentary material about the playwright and his most famous drama.

The Pulitzer Prize-winning tragedy of a salesman's deferred American dream

Ever since it was first performed in 1949, Death of a Salesman has been recognized as a milestone of the American theater. In the person of Willy Loman, the aging, failing salesman who makes his living riding on a smile and a shoeshine, Arthur Miller redefined the tragic hero as a man whose dreams are at once insupportably vast and dangerously insubstantial. He has given us a figure whose name has become a symbol for a kind of majestic grandiosity--and a play that compresses epic extremes of humor and anguish, promise and loss, between the four walls of an American living room.

By common consent, this is one of the finest dramas in the whole range of the American theater. --Brooks Atkinson, The New York Times

So simple, central, and terrible that the run of playwrights would neither care nor dare to attempt it. --Time

The Pulitzer Prize-winning tragedy of a salesman's deferred American dream

A Penguin Classic

Since it was first performed in 1949, Arthur Miller's Pulitzer Prize-winning drama about the tragic shortcomings of an American dreamer has been recognized as a milestone of the theater. Willy Loman, the protagonist of Death of a Salesman, has spent his life following the American way, living out his belief in salesmanship as a way to reinvent himself. But somehow the riches and respect he covets have eluded him. At age 63, he searches for the moment his life took a wrong turn, the moment of betrayal that undermined his relationship with his wife and destroyed his relationship with Biff, the son in whom he invested his faith. Willy lives in a fragile world of elaborate excuses and daydreams, conflating past and present in a desperate attempt to make sense of himself and of a world that once promised so much. This Penguin Classics edition features an introduction by Christopher W. E. Bigsby.

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.

David Lindsay-Abaire has crafted a drama that's not just a departure but a revelation--an intensely emotional examination of grief, laced with wit, insightfulness, compassion and searing honesty. -David Rooney, Variety

A beautifully observed new play blessed with David Lindsay-Abaire's customary grace and wit. -Ben Brantley, New York Times

With Rabbit Hole, David Lindsay-Abaire has crafted the most serious, simply told work of his career--a painstakingly beautiful, dramatically resourceful, exquisitely human new play. -Backstage

A story of loss, heartbreak and forgiveness--told through daily moments and emotional hurdles--as a family moves on after the accidental death of their 4-year-old. After a critically acclaimed Broadway premier and successful film adaptation (starring Nicole Kidman, Aaron Eckhart, and Diane West), Rabbit Hole has been hailed as an artistic breakthrough for the highly regarded Lindsay-Abaire. A drama of what comes after tragedy, it captures the awkwardness and pain of thinking people faced with an unthinkable situation--and eventually, their capacity for survival. -USA Today

David Lindsay-Abaire is the Pulitzer-winning author of Rabbit Hole, which was made into a feature film. He is the author of Good People, Fuddy Meers, Wonder of the World, A Devil Inside and Kimberly Akimbo, as well as the book and lyrics to Shrek the Musical. He has written the screenplays for Rabbit Hole, Rise of the Guardians and Oz: The Great and Powerful. Born in South Boston, he now lives in Brooklyn.

That joyous rarity, a work of sophisticated artistic ambition and deep political purpose that affords nonstop pleasure.--William A. Henry III, Time

A comedic romp into the world of fantasy role-playing games, She Kills Monsters tells the story of Agnes Evans as she leaves her childhood home in Ohio following the death of her teenage sister, Tilly. When Agnes finds Tilly's Dungeons & Dragons notebook, however. she stumbles into a journey of discovery and action packed adventure in the imaginary world that was Tilly's refuge. In this high octane dramatic comedy laden with homicidal fairies, nasty ogres, and 90s pop culture, acclaimed young playwright Qui Nguyen offers a heart-pounding homage to the geek and warrior within us all.

Two classic plays in a single volume: One of the most-performed theater pieces in America about the brutal murder of Matthew Shepard and the town in which it happened, joined by an essential and moving sequel to the original play.

A terrific piece of theater, history, and life.... Nothing short of stunning.... A theatrical and human event. --New York magazine

On October 7, 1998, a young gay man was discovered bound to a fence outside Laramie, Wyoming, savagely beaten and left to die in an act of brutality and hate that shocked the nation. Matthew Shepard's death became a national symbol of intolerance, but for the people of the town, the event was deeply personal. In the aftermath, Moisés Kaufman and members of the Tectonic Theater Project went to Laramie and conducted more than 200 interviews with its citizens. From the transcripts, the playwrights constructed an extraordinary chronicle of life in the town after the murder.

In The Laramie Project: Ten Years Later, the troupe revisits the town a decade after the tragedy, finding a community grappling with its legacy and its place in history. The two plays together comprise an epic and deeply moving theatrical cycle that explores the life of an American town over the course a decade.

Based on the remarkable true story of Helen Keller and her teacher Annie Sullivan, this inspiring and unforgettable play has moved countless readers and become an American classic.

Young Helen Keller, blind, deaf, and mute since infancy, is in danger of being sent to an institution because her inability to communicate has left her frustrated and violent. In desperation, her parents seek help from the Perkins Institute, which sends them a half-blind Yankee schoolgirl named Annie Sullivan to tutor their daughter. Despite the Kellers' resistance and the belief that Helen is like a little safe, locked, that no one can open, Annie suspects that within Helen lies the potential for more, if only she can reach her. Through persistence, love, and sheer stubbornness, Annie breaks through Helen's walls of silence and darkness and teaches her to communicate, bringing her into the world at last.

Winner of the 1957 Pulitzer Prize in Drama

The definitive edition.--Boston Globe

Eugene O'Neill's autobiographical play Long Day's Journey into Night is regarded as his finest work. First published by Yale University Press in 1956, it won the Pulitzer Prize in 1957 and has since sold more than one million copies. This edition includes a Foreword by Harold Bloom, in which he writes: By common consent, Long Day's Journey into Night is Eugene O'Neill's masterpiece. . . . The helplessness of family love to sustain, let alone heal, the wounds of marriage, of parenthood, and of sonship, have never been so remorselessly and so pathetically portrayed, and with a force of gesture too painful ever to be forgotten by any of us.

How far would you go for love? For art? What would you be willing to change? What price might you pay? Such are the painful questions explored by Neil LaBute in THE SHAPE OF THINGS. A young student drifts into an ever-changing relationship with an art major while his best friends' engagement crumbles, so unleashing a drama that peels back the skin of two modern-day relationships. Any shrewd chap who finds his artist girlfriend has a video-camera in the bedroom to film the cut and thrust of their sexual action might well fear he was destined to end up as her artistic fodder. But in THE SHAPE OF THINGS, Neil LaBute's absolutely chilling report from the sex war's frontline, where stratagems for sexual humiliations are planned, Adam, the shy chap concerned, takes the video-camera, so to speak, lying down. LaBute, the remarkable American movie director and playwright whose film In the Company of Men showed a sexually unappealing woman exploited by two vengeful pretend lovers, now returns to this theme. This time it's a man who's the victim of female guile ... LaBute meticulously plans that the shocking, climatic revelations should cast dark light upon his apparently average people. -Nicholas de Jongh, The Standard LaBute] continues to probe the fascinating dark side of individualism, whose ultimate evil is an inability to imagine the suffering of others ... LaBute's great gift is to live in and to chronicle that murky area of not knowing, which mankind spends much of its waking life denying. Where does truth end and fiction begin? Is the fiction more valuable than the truth? Do the results justify the means? -John Lahr, The New Yorker What is art? What are you permitted to do in its name? ... These questions are thrown up by a piece whose intricate layers of treachery are worthy of David Mamet ... -Paul Taylor, The Independent LaBute is a smart, ambitious writer who, at his best, dares to explore the ambivalence hiding under the weave of our social fabric. He always has a serious intellectual project in mind, and here he aims at no less than the subjectivity of love and the definition of art itself. THE SHAPE OF THINGS is compulsively watchable. -Gordon Cox, Newsday LaBute is the most gifted, intelligent and wittily moral American playwright since Wallace Shawn; that is high praise, believe me. And this play marks his theatrical maturity. It's a must see. -Michael Coveney, Daily Mail

A classic work of American theatre, based on the Scopes Monkey Trial of 1925, which pitted Clarence Darrow against William Jennings Bryan in defense of a schoolteacher accused of teaching the theory of evolution

The accused was a slight, frightened man who had deliberately broken the law. His trial was a Roman circus. The chief gladiators were two great legal giants of the century. Like two bull elephants locked in mortal combat, they bellowed and roared imprecations and abuse. The spectators sat uneasily in the sweltering heat with murder in their hearts, barely able to restrain themselves. At stake was the freedom of every American. One of the most moving and meaningful plays of our generation.

Praise for Inherit the Wind

A tidal wave of a drama.--New York World-Telegram And Sun

Jerome Lawrence and Robert E. Lee were classic Broadway scribes who knew how to crank out serious plays for thinking Americans. . . . Inherit the Wind is a perpetually prescient courtroom battle over the legality of teaching evolution. . . . We're still arguing this case-all the way to the White House.--Chicago Tribune

Powerful . . . a crackling good courtroom play . . . [that] provides two of the juiciest roles in American theater.--Copley News Service

[This] historical drama . . . deserves respect.--The Columbus Dispatch

Winner of the Tony Award for Best Play, nominated for the Pulitzer Prize for Drama, and soon to be back on Broadway in a revival directed by the Lion King's Julie Taymor, starring Clive Owen

A brilliant play of ideas... a visionary work that bridges the history and culture of two worlds.--Frank Rich, New York Times

Based on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.

How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.

M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.

The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.

TEXT OF THE ORIGINAL BROADWAY PRODUCTION

A bitter marriage unravels in Edward Albee's darkly humorous play--winner of the Tony Award for Best Play.

Twelve times a week, answered actress Uta Hagen when asked how often she'd like to play Martha in Who's Afraid of Virginia Woolf? In the same way, audiences and critics alike could not get enough of Edward Albee's masterful play. A dark comedy, it portrays husband and wife George and Martha in a searing night of dangerous fun and games. By the evening's end, a stunning, almost unbearable revelation provides a climax that has shocked audiences for years. With its razor-sharp dialogue and the stripping away of social pretense, Newsweek rightly foresaw Who's Afraid of Virginia Woolf? as a brilliantly original work of art--an excoriating theatrical experience, surging with shocks of recognition and dramatic fire [that] will be igniting Broadway for some time to come.