A television adaptation of Eugene O’Neil’s classic American drama of love, revenge, murder and suicide. Set against the backdrop of a small New England town, it is a post-Civil War saga of a fictionalized family in a sometimes idealized, other times reflected version of O’Neill’s own life and family.
An American Conservatory Theatre production of one of Rostand’s most celebrated plays. Rostand’s swashbuckling, romantic comedy is beloved for its tragic love story and its witty hero, Cyrano de Bergerac.
The infamous off-Broadway musical revue tackles the subject of sexuality, with skits by John Lennon, Samuel Beckett, Jules Feiffer and Sam Shepard, where one or more performers in either a state of undress, simulating sex, or both.
Just days before her wedding, Beatrice-Joanna has a chance encounter with Alsemero, and realizes that she has met her one true love. To marry the man she loves, she persuades the love-struck henchman De Flores to murder her fiance, but does not anticipate the tragic consequences of her actions.
King Lear, old and tired, divides his kingdom among his daughters, giving great importance to their protestations of love for him. When Cordelia, youngest and most honest, refuses to idly flatter the old man in return for favor, he banishes her and turns for support to his remaining daughters. But Goneril and Regan have no love for him and instead plot to take all his power from him. In a parallel, Lear’s loyal courtier Gloucester favors his illegitimate son Edmund after being told lies about his faithful son Edgar. Madness and tragedy befall both ill-starred fathers.
A young man returns home from Vietnam blind. He is very bitter about the war and alienates his family and friends. This movie deals with the aftermath of war and how people react to it both veterans and their families.
Arthur Miller himself adapted his Pultizer Prize-winning modern tragedy for this 1966 television production, with Lee J. Cobb and Mildred Dunnock reprising their original Broadway roles as the Lomans. This classic production toys with time in its shattering telling of a middle-aged man at the end of his emotional rope.
Bernhard’s last play Heldenplatz, viewed as an attack on Austria, caused a media sensation in Vienna in 1989 and brought widespread reactions of outrage that ranged from the man in the street to the highest government officials. Such criticism totally misconstrued the nature and purpose of the play, which in form, style, and content fits directly into the normal sequence of his plays. Using his standard technique of exaggeration and employing his outstanding linguistic talent, Bernhard contributes to the theme of Vergangenheitsbewältigung on the occasion of the fiftieth anniversary of the Anschluβ. A sickly character, Robert Schuster, representing a fatally ill Bern-hard, makes a last effort to confront the deficiencies of the land Bernhard loved, not hated, as is commonly assumed.