An American woman who has never left Nashville searches Turkey for a deported Kurdish man who has disappeared. This is a darkly comic journey through a land where a language is illegal and illusions have to die if you want to survive.

Los Angeles playwright Kelly Stuart's hilarious satire of the male-dominated workplace is set in a baby formula company, where the men even determine the feeding and care of infants. But when Gina, a mother who breast-feeds, joins the staff, things begin to change, culminating in both fantastic and realistic events which jar the reader into reevaluating the gender-based power structure and the illusions which support it. First presented at the Padua Hills Playwrights Festival, this play was later performed at Playwrights Horizons in New York and the Mark Taper Forum in Los Angeles. In 1996, it was awarded the America Award for Drama as the best play of the year.

Somewhere in the nineteenth century, Amelia Pickles, a prim and proper spinster of modest means, agrees to let out a room in her Victorian London establishment to a retired military man, Josiah Wickett. The arrangement seems to be working out until Mr. Wickett decides to play matchmaker with Miss Pickles' prissy niece Alexandrina, and his nephew, Darlington, an officer in the cavalry. Through a gross misinterpretation, Miss Pickles believes she, not Alexandrina, is the object of Mr. Wickett's, not Darlington's, affection. Miss Pickles is convinced Mr. Wickett will soon ask for her hand in marriage. When he denies, she decides to take her boarder to a court of law for breach of promise. Mr. Wickett loses the trial. Or does he win? He doesn't wish to pay Miss Pickles her settlement and instead he opts to marry the lonely woman. Through the musings, regrets, anecdotes, and comedic bickerings between their forced duet it seems as though just maybe they were meant to be together after all.

Two elderly sisters forget all about southern charm when a young door-to-door evangelist comes knocking. This theological comedy blends Smith's trademark sharpness of wit and depth of character, while telling a story in which a crisis of faith arises when seemingly similar beliefs are discovered to be worlds apart.

In The Next Room, Or the Vibrator Play is a provocative, funny, touching and marvelously entertaining story about a young doctor and his wife. Dr. Givings is obsessed with the marvels of technology and what they can do for his patients. His wife, Catherine, is only a bystander in her husband's world—listening at the door from the next room as he treats his female patients. Dr. Givings is not sure exactly how the vibrators help the women he treats—but they do keep coming back. The only woman whose problem is not helped by the doctor is his own wife who longs to connect with him—but not electrically.

The Clean House is a wryly funny, deeply moving play that begs the question: What really is important in life?

Mathilda is depressed. She doesn't want to clean, she wants to tell jokes. In Portuguese. Problem is, she's Lynn's live-in maid. And all Lynn wants is a clean house. She's got everything else: a husband who's a successful surgeon and her own busy career as a doctor. Or so she thinks. Her husband finds his soulmate in one of his patients, and moves out of Lynn's house—which, by the way, is now clean because Lynn's sister Virginia has been cleaning it on the sly. The New York Times calls Sara Ruhl "a provocative new theatrical voice" and The Clean House "visionary."

Dali is a contemporary drama set in the desert heat of Barstow, California, where Gabriela, the wife of career soldier Benito, has discovered a surreal fantasy world to help her cope with his long absences. There, where the moon plays the violin and a cat dances with coyotes, are the poetry and passion she misses in "real" life.

Armageddon in the heavens—the angels go to war! Apocalypse on earth—cities self-destruct! Seen through the eyes of Marisol Perez, an Everywoman on a journey through a surrealistic Bronx, this miraculous drama pins the destiny of our planet on the outcome of revolution.

A fascinating dramatisation of a conspiracy theory surrounding Kennedy's assassination.

It's the 1990s, and Lynette, an ex-assistant editor at LIFE magazine, now living in obscurity, has gathered her family around her to celebrate her birthday. She has a secret that she needs to confide in them. In the 1960s, when she worked as an assistant on LIFE magazine, she was an 'unwilling' witness to the first showing of the (in)famous 'Zapruder' film about the assassination of Kennedy, which allegedly proved the theory that there was a second assassin. Chosen by her boss to hand over the film to the FBI, Lynette is the last surviving link in this particular chain of mysterious events. Thirty years later and the controversy still rumbles on: Will the retiring ex-Assistant forsake her and her family's anonymity for the sake of demonstrating this incontrovertible evidence to the world?

A satirical comedy about the Bay of Pigs invasion.

" . . . Rum and Coke [is] a wry, poignant look back at the can-do optimism and patriotic naivete that led the U.S. to stumble into the Bay of Pigs invasion. Playwright Keith Reddin, 29, was a child of four when CIA-backed Cuban insurgents made their disastrous landing in 1961, but he captures with compassion and accuracy the Kennedy Administration's fundamental miscalculation: the belief in a nonexistent Cuban underground that was only waiting for a signal of support to rise up and overthrow Fidel Castro. Reddin presents the Bay of Pigs fiasco as a dress rehearsal by America's best and brightest for their misjudgements in Vietnam. Some of the fumiest scenes depict the white-collar macho of bureaucrats who react to caution as a sign of deficient manhood . . . " —William A. Henry III, Time