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Cafe La MaMa, NY, USA >>>

1964

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I don't think the play has been published but you could try abebooks.com

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Notes:
Written by Lawrence Ferlingetti and Tad Mosel. "This is the first time we called Cafe La MaMa: La MaMa Experimental Theatre Club, or La MaMa E.T.C. We made it a club to avoid harrasment by the bureau of licenses."

Synopsis:
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New York

1960

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Obolensky, New York

1961

If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
(below) are AbeBooks for secondhand & 1st eds and other Booksellers for new copies

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Adaptation

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Notes:
from A Death in the Family by James Agee

Synopsis:
A drama about the problems surrounding a death.

Amherst, Massachusetts

1942

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I don't think the play has been published but you could try abebooks.com

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Synopsis:

New York

1961

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Dramatists Play Service, NY

1961

If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
(below) are AbeBooks for secondhand & 1st eds and other Booksellers for new copies

comedy drama

One Act

2

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Notes:
This play, conceived in the "Pirandello mode," brings a fresh approach to a timeless themewhat should be the proper ratio of truth vs. illusion in the balanced life?

Synopsis:
Four actors sit on a darkened stage, awaiting the arrival of the stage manager who has called them together. Lacking his authoritative presence they are merely characters in search of a play to become part of, for their own personalities seem unformed and shallow next to the full-blooded figures they are used to playing. They are also "types," and each of them has absorbed most of what he is from what he pretends to be on the stage. As they wait, the stage lights come upbut still no one appears to tell them what they are to do. They know only that they are not to leave the stage until they have "acted out the play." Suddenly becoming aware that an audience is present, the actors decide to improvise, an idea which finds them slightly flustered. Ernest, the "leading man," exercises the prerogative of star billing and assumes command. He plunges ahead, assigning roles to himself and his colleaguesWinifred, who always plays the "leading lady's best friend"; Lora, the struggling ingenue; and Tony, the juvenile lead. The "drama" which unfolds is a mixture of truth, fantasy and well-rehearsed situations, but out of it, in subtle progression, comes a deepening awareness of the real people behind the theatrical facades.

New York

1952

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I don't think the play has been published but you could try abebooks.com

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Synopsis:

New York

1962

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I don't think the play has been published but you could try abebooks.com

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Notes:
televised 1953; music by Jerry Herman

Synopsis:

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Dramatists Play Service, NY

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If Publisher (above) is underlined then the play may be purchased by direct click, otherwise
(below) are AbeBooks for secondhand & 1st eds and other Booksellers for new copies

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Play/Drama

2

2

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Synopsis:
In the words of the NY Daily News, the play "deals with the humdrum life led by two aging sisters whom time has temporarily turned into rivals for the affections of one man, whom, in their youth, they wanted no part of. Locale of the play is a small midwestern town, the setting, a large old home that bespeaks dwindling wealth&This stultifying atmosphere and utter uselessness of their existence bothers Wilma Sills more than Ruby who insists she is "contented. Some days, even happy." Not Wilma&First, she invites the town wolf, George Preble, to the house for brochures and data on Shadyside, a new housing development she briefly dreams of moving to. Another desperate gesture is to write to Hobart Cramm, once a poor boy from the town who, she learns, has made good in the East." But when he turns up it is quickly evident that it pleases him to see the once influential Sills family brought low. After assuring himself of Wilma's complete humiliation, he asks her to marry him. She has been told she is silly so many years that she now believes it and is terrified of doing the wrong thing at this, the most crucial moment of her life. But she cannot help herself; she refuses Hobart because she does not love him. The blow to his vanity is monumental, and he turns for comfort to Ruby, whose assumed acceptance of life is now penetrated, revealing a reckless, almost conniving desire for escape which Wilma never suspected.