The three plays collected in this volume demonstrate Sheridan's unerring ability to create unrivalled comedy out of ingenious plots, witty repartee, farcical situations and flamboyant characters. And while he never overtly moralizes, Sheridan uses brilliant comedy to deflate hypocrisy and satirize the manners of his age. In The Rivals, Captain Absolute becomes his own rival for the hand of Lydia Languish--wooing her under another name, while her aunt, the verbally inept Mrs Malaprop, wishes her to marry the real Captain. School for Scandal continues the theme of imposture when Sir Oliver tests his nephews by appearing to them in disguise, and learns that reputation and the approval of society are of little value. And The Critic, featuring the pompous Puff and the arrogant Sneer, is a mocking depiction of the theatre, playwrights and, of course, critics.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.
This charming comedy has delighted audiences for over two centuries. First performed in 1773, it concerns Kate Hardcastle, a young lady who poses as a serving girl to win the heart of a young gentleman too shy to court ladies of his own class. A number of delightful deceits and hilarious turns of plot must be played out before the mating strategies of both Kate Hardcastle and her friend Constance Neville conclude happily. Along the way, there is an abundance of merry mix-ups, racy dialogue and sly satire of the sentimental comedies of Goldsmith's day.
The extraordinary humor and humanity with which Goldsmith invested this play have made it one of the most read, performed, and studied of all English comedies. It is now available in this inexpensive Dover edition, based on the text of the fourth edition, published in the year of the play's first staging.
Centered squarely on the Negro-white conflict, both Dutchman and The Slave are literally shocking plays--in ideas, in language, in honest anger. They illuminate as with a flash of lightning a deadly serious problem--and they bring an eloquent and exceptionally powerful voice to the American theatre.
Dutchman opened in New York City on March 24, 1964, to perhaps the most excited acclaim ever accorded an off-Broadway production and shortly thereafter received the Village Voice's Obie Award. The Slave, which was produced off-Broadway the following fall, continues to be the subject of heated critical controversy.
The libretto to the Tony winning musical featuring a book by Larry Gelbart music by Cy Coleman and lyrics by David Zippel. The book also includes an introduction by Larry Gelbart illustrations by Al Hirschfeld production photographs and original costume designs.
Aeschylus (525-456 BC) brought a new grandeur and epic sweep to the drama of classical Athens, raising it to the status of high art. In Prometheus Bound the defiant Titan Prometheus is brutally punished by Zeus for daring to improve the state of wretchedness and servitude in which mankind is kept. The Suppliants tells the story of the fifty daughters of Danaus who must flee to escape enforced marriages, while Seven Against Thebes shows the inexorable downfall of the last members of the cursed family of Oedipus. And The Persians, the only Greek tragedy to deal with events from recent Athenian history, depicts the aftermath of the defeat of Persia in the battle of Salamis, with a sympathetic portrayal of its disgraced King Xerxes.Philip Vellacott's evocative translation is accompanied by an introduction, with individual discussions of the plays, and their sources in history and mythology. 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.
This anthology includes his best plays and also seeks to give some idea of his range. His forte was farce, and these selections exemplify at least two of his favorite farcical devices: mistaken identity (Amphitryon) and the lecherous old codger (Casina). The Pot of Gold reveals what Plautus could do with the subtler humor to be evoked from character.
A moving adaptation of Frances Hodgson Burnett's 1911 novel, the story of a ten-year-old orphan's search for love and self-discovery in her uncle's locked garden. With her Tony-award winning book and lyrics, Norman recreates the classic form of the traditional American musical.
Mule Bone is the only collaboration between Zora Neale Hurston and Langston Hughes, two stars of the Harlem Renaissance, and it holds an unparalleled place in the annals of African-American theater. Set in Eatonville, Florida--Hurston's hometown and the inspiration for much of her fiction--this energetic and often farcical play centers on Jim and Dave, a two-man song-and-dance team, and Daisy, the woman who comes between them. Overcome by jealousy, Jim hits Dave with a mule bone and hilarity follows chaos as the town splits into two factions: the Methodists, who want to pardon Jim; and the Baptists, who wish to banish him for his crime.
Included in this edition is the fascinating account of the Mule Bone copyright dispute between Hurston and Hughes that ended their friendship and prevented the play from being performed until its debut production at the Lincoln Center Theater in New York City in 1991--sixty years after it was written. Also included is "The Bone of Contention," Hurston's short story on which the play was based; personal and often heated correspondence between the authors; and critical essays that illuminate the play and the dazzling period that came to be known as the Harlem Renaissance.