In these two moving early plays, David Mamet displays the humor, sensitivity, and ear for language that have made him one of the most celebrated playwrights in American theater today. Reunion depicts the awkward, tender meeting between a father and a daughter drawn together by their loneliness after twenty years of separation. Their cautious small talk, filled with evasion and cliché, gradually exposes the terrifying isolation in which they live, and ultimately, their great need for each other. In the short vignette Dark Pony, a father tells a favorite bedtime story to comfort his young daughter as they drive home late at night. A foray into the realm of legend, the story of a young Indian brave and his trusty horse, Dark Pony has been called “a lovely, tiny moment of a play” by Julius Novick of The Village Voice.

In two plays, a man and his daughter seem to meet each other for the first time when they are united after twenty years, and while traveling by car a father relates a mythical tale to his child

A selection of plays by the American playwrigth David Mamet.

"The Shawl" is about a small-time mystic out to bilk a bereaved woman of her inheritance. In "Prairie du Chien" a railroad car is the setting for a violent story of obsessive jealousy, murder and suicide punctuated by the camaraderie of a friendly card game exploding into a moment of menace.

In the realm of the Dark-Hunters there is a code of honor that even immortal bad boys must follow: Harm no human. Drink no blood. Never fall in love. But every now and again a Dark-Hunter thinks himself above the Code. That's when I'm summoned. Who am I? I'm the one thing the fearless fear. Step over the line and it's my wrath you will face. Nothing can touch me. Nothing can sway me. I am relentless and unfeeling. Or so I thought until I met a female Dark-Hunter who goes by the name of Danger-it's not just her name, it's how she lives her life. She doesn't trust me at all. And who could blame her? She alone knows that I'm here to be judge, jury and most likely executioner of her friends. Yet she is my key to saving some of them. Without her, they all will die. Dangereuse St. Richard is a deadly distraction. Something about her is reawakening a heart I thought was long dead. But in a race against evil, the only hope mankind has is that I do my duty. And how can I do my duty when it means that I will have to sacrifice the only woman I've ever loved?

The move from playwright to cinema screenwriter and director is a rare accomplishment. No American writer has achieved this transition with the level of success enjoyed over the past two decades by David Mamet. Over this same period Mamet has also authored a body of aggressive critical writing that demonstrates enduring aesthetic and ideological preoccupations, regularly expressed as a set of confident «best practices». However, the relationship between theory and practice becomes particularly (and productively) rowdy at the sites of Mamet's transitional «media crossing». Imagination in Transition establishes a flexible set of core characteristics of Mamet's dramatic and theatrical dramaturgy, and then compares these with the textual and cinematographic strategies employed by Mamet in his initial, «transitional» feature films. This study, then, offers both an innovative approach to Mamet's work and an illuminating framework for cross-media analysis.