Weitere Bücher, die Sie mögen werden

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  No Matter the Wreckage

  Sarah Kay

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  Following the success of her breakout poem, "B,"Sarah Kay releases her debut collection of poetry featuring work from the first decade of her career. No Matter the Wreckage presents listeners with new and beloved poetry that showcases Kay's talent for celebrating family, love, travel, and unlikely romance between inanimate objects ("The Toothbrush to the Bicycle Tire"). Both fresh and wise, Kay's poetry allows listeners to join her on the journey of discovering herself and the world around her. It is an honest and powerful collection.

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  Seascapes - Poems

  Judith Shepard

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  A collection of poems by Judith Shepard, co-publisher at The Permanent Press.

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  The Motherfucker with the Hat

  Stephen Adly Guirgis

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  Addiction, pain, and explosive tempers are not exactly what you’d call the ingredients for a side-splitting comedy. Yet Steven Adly Guiguis has created a profane, hilarious masterpiece that earned a “hatful” of theatrical accolades in 2011, including a Drama Desk award for Outstanding Actor in a Play for Bobby Cannavale. Stars the original Broadway cast: Chris Rock, Bobby Canavale, Annabella Sciorra, Elizabeth Rodriguez and Yul Vazquez.A 2011 Tony Award nominee for Best Play.An L.A. Theatre Works full-cast performance featuring:Chris Rock as Ralph D.Bobby Cannavale as JackieElizabeth Rodriguez as VeronicaAnnabella Sciorra as VictoriaYul Vázquez as Cousin JulioDirected by Jace Alexander. Recorded by L.A. Theatre Works before a live audience.

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  Shadow and Substance

  Paul Vincent Carroll

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  An overbearing archbishop and a saintly servant are faced with allegations of collusion in the church. Through comedy, drama, and tragedy do they learn the ultimate lesson of humility. Co-starring Helena Carroll, daughter of playwright.Starring: Edward Mulhare as Thomas Canon Skerritt, Finola Hughes as Bridget, Colm Meaney as Dermot Francis O'Flingsley, Bairbre Dowling as Thomasina Concannon, Helena Carroll as Jemima Cooney, Ian Abercrombie as Father Corr, James Lancaster as Father Kirwan, Marty Maguire as Francis O'Connor, Sean McClory as Archibald Holt, Jeanette Nolan as Rosie Violet and CART's Announcer John Harlan.Adapted, produced, and directed by Peggy Webber.

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  Holding the Man (NHB Modern Plays)

  Tommy Murphy

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  Based on the award-winning memoir by Timothy Conigrave, and adapted for the stage by acclaimed playwright Tommy Murphy, Holding the Man tells a remarkable true-life love story that speaks across generations, sexualities and cultures.
  The course of teenage love rarely runs smooth, but it is a white-water adventure if you are secretly gay in an all-male school in 1970s Melbourne with a crush on the captain of the football team.
  Against the odds, Tim and John develop a relationship that, for fifteen years, survives everything life throws at it - the separations, the discriminations, the temptations, the jealousies and the losses - until the only problem that love can't solve turns up to part them.
  'Tommy Murphy is a bewitching playwright of startling originality' - Cate Blanchett and Andrew Upton, Artistic Directors of Sydney Theatre Company
  'fresh, frank and funny... a wrenchingly moving love story I defy anyone with a pulse not to relate to' - Evening Standard
  'Compelling, wrenching… unflinching, devastating, moving and funny' - Sydney Morning Herald

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  Now We Can Talk Openly About Men...

  Martin Evans

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  Martina Evans's Now We Can Talk Openly about Men is a pair of dramatic monologues, snapshots of the lives of two women in 1920s Ireland. The first, Kitty Donovan, is a dressmaker in the time of the Irish War of Independence. The second, Babe Cronin, is set in 1924, shortly after the Irish Civil War. Kitty is a dressmaker with a taste for laudanum. Babe is a stenographer who has fallen in love with a young revolutionary. Through their separate, overlapping stories, Evans colours an era and a culture seldom voiced in verse. 
  Set back some years from their stories, both women find a strand of humour in what took place, even as they recall the passion, vertigo and terror of those times. A dream-like compulsion in their voices adds a sense of retrospective inevitability. The use of intense, almost psychedelic colour in the first half of the book opposes the flattened, monochrome language of the second half. This is a work of vivid contrasts, of age and youth, women and men, the Irish and the English: complementary stories of balance, imbalance, and transition.

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