Gem of the Ocean is the play that begins it all. Set in 1904 Pittsburgh, it is chronologically the first work in August Wilson's decade-by-decade cycle dramatizing the African-American experience during the 20th century—an unprecedented series that includes the Pulitzer Prize-winning plays Fences and The Piano Lesson. Aunt Esther, the drama's 287-year-old fiery matriarch, welcomes into her Hill District home Solly Two Kings, who was born into slavery and scouted for the Union Army, and Citizen Barlow, a young man from Alabama searching for a new life.

When Harold Loomis arrives at a black Pittsburgh boardinghouse after seven years' impressed labor on Joe Turner's chain gang, he is a free man—in body. But the scars of his enslavement and a sense of inescapable alienation oppress his spirit still, and the seemingly hospitable rooming house seethes with tension and distrust in the presence of this tormented stranger. Loomis is looking for the wife he left behind, believing that she can help him reclaim his old identity. But through his encounters with the other residents he begins to realize that what he really seeks is his rightful place in a new world—and it will take more than the skill of the local "People Finder" to discover it. This jazz-influenced drama is a moving narrative of African-American experience in the 20th century.

King Hedley II is the ninth work in playwright August Wilson's 10-play cycle chronicling the history of the African American experience in each decade of the twentieth century. It's set in 1985 and tells the story of an ex-con in post-Reagan Pittsburgh trying to rebuild his life. Many critics have hailed the work as a haunting and challenging tragedy of Shakespearean proportions.

Set in the 1970s in Pittsburgh's Hill District, and depicting gypsy cabdrivers who serve black neighborhoods, Jitney is the eigth in Wilson's projected 10-play cycle (one for each decade) on the black experience in twentieth-century America. A thoroughly revised version of a play Wilson first wrote in 1979, Jitney was produced in New York for the first time in spring 2000, winning rave reviews and the accolade of the New York Drama Critics Circle as the best play of the year. One of contemporary theater's most distinguished and eloquent voices, August Wilson writes not about historical events or the pathologies of the black community, but, as he says, about "the unique particulars of black culture . . . I wanted to place this culture onstage in all its richness and fullness and to demonstrate its ability to sustain us . . . through profound moments in our history in which the larger society has thought less of us than we have thought of ourselves."

It is Pittsburgh, 1969. The regulars of Memphis Lee's restaurant are struggling to cope with the turbulence of a world that is changing rapidly around them and fighting back when they can. As the play unfolds, Memphis's diner—and the rest of his block—is scheduled to be torn down, a casualty of the city's renovation project that is sweeping away the buildings of a community, but not its spirit. The rich undertaker across the street encourages Memphis to accept his offer to buy the place from him at a reduced price, but Memphis stands his ground, determined to make the city pay him what the property is worth, refusing to be swindled out of his land as he was years before in Mississippi. Into this fray come Sterling, the ex-con who embraces the tenets of Malcolm X; Wolf, the bookie who has learned to play by the white man's rules; Risa, a waitress of quiet dignity who has mutilated her legs to distance herself from men; and Holloway, the resident philosopher and fervent believer in the prophecies of a legendary 322-year-old woman down the street, a reminder of their struggle and heritage. And just as sure as an inexorable future looms right around the corner, these people of "loud voices and big hearts" continue to search, to falter, to hope that they can catch the train that will make the difference.

With compassion, humor, and a superb sense of place and time, Wilson paints a vivid portrait of everyday lives in the shadow of great events, and of unsung men and women who are anything but ordinary.

It is the spring of 1948. In the still cool evenings of Pittsburgh's Hill district, familiar sounds fill the air. A rooster crows. Screen doors slam. The laughter of friends gathered for a backyard card game rises just above the wail of a mother who has lost her son. And there's the sound of the blues, played and sung by young men and women with little more than a guitar in their hands and a dream in their hearts.

August Wilson's Seven Guitars is the fifth chapter in his continuing theatrical saga that explores the hope, heartbreak, and heritage of the African-American experience in the twentieth century. The story follows a small group of friends who gather following the untimely death of Floyd "Schoolboy" Barton, a local blues guitarist on the edge of stardom. Together, they reminisce about his short life and discover the unspoken passions and undying spirit that live within each of them.

Torn between army politics and the love of his soldiers on the front line, a legendary leader spirals out of control. Inspired by Sophocles' classical play, Our Ajax draws on interviews with contemporary servicemen and women to create a modern epic of heroism, love and homeland.

"How did you learn to draw a line that is so ferocious and so supple? There is no question Mademoiselle . . . You are one of us."

From unexpected quarters in nineteenth century France, a bright new talent emerges: confident, penniless, and a woman. But circumstance is no obstacle to Suzanne Valadon. For the great Edgar Degas, his ambitious protege proves the biggest challenge of his life.

In a big old house, Ashgirl lives huddled deep in the protection of an ashy hearth. With her mother dead and her father away, she lives with her stepmother and two stepsisters. When the invitation to the ball arrives from the prince, Ashgirl finds the strength to go with the help of her friends, some of whom come from expected places. When she gets home, Ashgirl realizes that in order to regain the fleeting happiness she found in the arms of the prince, she must fight the monsters who have slithered and insinuated their way into her heart and mind. She must believe in herself for ohers to do so.

In this story of love and loss, Wertenbaker explores the longing for identity, the despair of fragmentation and the fragile hopes of lives redefined.

"Alexander . . . has escaped persecution and made it into Britain. Three years later his indomitable mother, Petra, arrives at Heathrow in search of him. Eventually mother and son meet in a confrontation of irreconcilable attitudes: the one embodies an intransigent . . . nationalism, the other the necessary assimilation of the exile. As always, Wertenbaker is unafraid to tackle big issues." —The Guardian