Artie Shaugnessy is a songwriter with visions of glory. Toiling by day as a zoo-keeper, he suffers in seedy lounges by night, plying his wares at piano bars in Queens, New York where he lives with his wife, Bananas. Who is. Much to the chagrin of Artie's downstairs mistress, Bunny Flingus who'll sleep with him anytime but refuses to cook until they are married. On the day the Pope is making his first visit to the city, Artie's son Ronny goes AWOL from Fort Dix stowing a home made-bomb intended to blow up the Pope in Yankee Stadium. Also arriving are Artie's old school chum, now a successful Hollywood producer, Billy Einhorn with starlet girlfriend in tow, who holds the key to Artie's dreams of getting out of Queens and away from the life he so despises. But like many dreams, this promise of glory evaporates amid the chaos of ordinary lives.

John Guare’s new play is astonishing, raucous and panoramic. A Free Man of Color is set in boisterous New Orleans prior to the historic Louisiana Purchase. Before law and order took hold, and class, racial and political lines were drawn, New Orleans was a carnival of beautiful women, flowing wine and pleasure for the taking. At the center of this Dionysian world is the mulatto Jacques Cornet, who commands men, seduces women and preens like a peacock. But, it is 1801 and the map of New Orleans is about to be redrawn. The Louisiana Purchase brings American rule and racial segregation to the chaotic, colorful world of Jacques Cornet and all that he represents, turning the tables on freedom and liberty.

This latest work from award-winning playwright John Guare, author of House of Blue Leaves and Six Degrees of Separation, addresses ideas of history and memory, fame and ignominy, reason and insanity with his trademark Guare imagination. In a Fifth Avenue brownstone in 1880s New York, Ulysses S. Grant is penniless, dying of throat cancer, and attempting to finish his memoirs while he's cajoled and pestered by everyone from his wife and children to his publisher Samuel Clemens (aka Mark Twain) and, via his drugged hallucinations, the emperor of Japan. Although the memoirs are eventually completed, the audience is left questioning their accuracy and, ultimately, the authenticity of history itself.

This book, the first full-length study of Guare's theater, will make his plays more accessible through an examination of the often unnerving type of black comedy that makes his plays work.".

THE STORY: The time is 1999, the place an island off the coast of Norway. Stony McBride, a young movie director and adopted son of an aging Hollywood star, is writing a film about Marco Polo, in which, it is hoped, his father will make a comeback.

THE STORY: As the New York Times outlines, It is done almost as a comedy, yet it isn't quite. Jack Argue is the 'hero,' the middle-class man from Connecticut who works for Muzeeka, a piped-music company that inflicts its bland tunes on all America. He is the man who has made it, who tries to assuage his conscience through hypocritical verbiage. There is a series of episodes-Argue chanting a hymn to a penny, Argue loving his wife, Argue loving a prostitute, Argue fighting in Vietnam. If he could have been wherever he chose to be, he says, he would have chosen to be an Etruscan, one of those ancient people who came and went 'a million years ago,' 'a whole civilization danced out of the earth.' Mr. Guare has written with thought, craftsmanship and beauty. His allusions are poetic-the traffic lights, for instance, that make the streets go from grass to blood.

From the 1960s to the present day, John Guare’s plays have ranged from one-act to cyclic, realistic to surrealistic, naturalistic to experimental, and tragic to comic dramas. This study’s approach to the cornucopia the playwright himself provided when in an interview he gave a fundamental aesthetic principle of his craft. Like a person—and Guare’s plays develop the personal as well as the artistic self—a play must be grounded in reality; only then can it soar. The ground is traditional theatre with characters, no matter how larger than life they can be, and plot, no matter how illogical it can be. The soaring is in interrupting the action with monological narratives and musical interludes, bringing characters back from the dead, and having the action take hairpin turns into a mixture of genres and styles, modes and tones. In verbal and visual images, the flight invokes works by authors as varied as Aeschylus and Whitman, Dante and Feydeau, Verdi and Romberg. Soaring from ground to new ground, the theatre creates the transmission of the American heritage in Lake Hollywood, an idealism corrupted by a fraudulent American Dream in Lydie Breeze, and the recovery of the past in A Few Stout Individuals. As Guare said about his plays: they “interconnect.”