“Your fear, your own lives, have become your entertainment.”—Talk Radio “More timely today than it was twenty years ago . . . Radio crackles with intensity.”—Joe Dziemianowicz, New York Daily News “The most lacerating portrait of a human meltdown this side of a Francis Bacon painting. . . . This revival, like the original production, allows its star to grab an audience by the lapels and shake it into submission.”—Ben Brantley, The New York Times Eric Bogosian’s Talk Radio—his breakthrough 1987 Public Theater hit that was made into a film by Oliver Stone—has been revived in a “mesmerizing” (Newsday) production on Broadway, with Liev Schreiber playing the role of the late-night shock jock that Bogosian himself originated. The drama is set in the studio of Cleveland’s WTLK Radio over the course of Barry Champlain’s two-hour broadcast, being scrutinized that night by producers with an interest in taking the show national, and fueled as always by coffee, cocaine, and Jack Daniel’s. Barry’s jousts with his unseen callers—ranging from a white supremacist to a woman obsessed with her garbage disposal—are peppered with insights into his character from his ex-deejay pal and his sometime girlfriend/producer, and punctuated with a transformative visit from an embodied voice. Eric Bogosian is a writer and actor who over the last twenty years has authored five full-length plays and created six full-length solos for himself, including subUrbia; Sex, Drugs, Rock & Roll; Pounding Nails in the Floor with My Forehead;and Drinking in America. He is the recipient of three OBIE Awards and a Drama Desk Award, and has toured throughout the United States and Europe.

"Wallace Shawn is up to his old tricks again: pricking the conscience of right-on, left-leaning theatergoers. No one does that better than this impish, idiosyncratic polymath, who, at seventy-two, still comes across as precocious—probably because we resent him flagging our complacent complicity in all the world's ills."—Variety "The play stops, but has no ending. It is for us to try to answer its bleak questions, to see what it might mean to be undeluded."—The Guardian Gathering around a table at the Talk House, an old haunt, a group of friends and theatre artists reunite after ten years to reminisce and catch-up on each other's lives. At first, the conversation is fairly run-of-the-mill: current TV shows and where their careers have taken them. Eventually, the discussion's tone takes a turn when they mention supplementing their incomes through the government-led program to enlist unemployed artists for drone strikes and carrying out violent attacks on foreign land. As is typical of Shawn's plays, the premise at once amuses and unsettles, forcing the viewer to wonder whether being too idle makes all of us complicit in the world's ongoing destruction. Wallace Shawn is a noted actor and writer. His often politically-charged and controversial plays include The Fever, Aunt Dan and Lemon, Marie and Bruce, and The Designated Mourner. With Andre´ Gregory, he co-wrote My Dinner with Andre´, in which he also starred. He adapted the classic Ibsen play A Master Builder for film.

Winner of the 2009 Pulitzer Prize for Drama “A powerhouse drama. . . . Lynn Nottage’s beautiful, hideous and unpretentiously important play [is] a shattering, intimate journey into faraway news reports.”—Linda Winer, Newsday “An intense and gripping new drama . . . the kind of new play we desperately need: well-informed and unafraid of the world’s brutalities. Nottage is one of our finest playwrights, a smart, empathetic and daring storyteller who tells a story an audience won’t expect.”—David Cote, Time Out New York A rain forest bar and brothel in the brutally war-torn Congo is the setting for Lynn Nottage’s extraordinary new play. The establishment’s shrewd matriarch, Mama Nadi, keeps peace between customers from both sides of the civil war, as government soldiers and rebel forces alike choose from her inventory of women, many already “ruined” by rape and torture when they were pressed into prostitution. Inspired by interviews she conducted in Africa with Congo refugees, Nottage has crafted an engrossing and uncommonly human story with humor and song served alongside its postcolonial and feminist politics in the rich theatrical tradition of Bertolt Brecht’s Mother Courage. Lynn Nottage’s plays include Crumbs from the Table of Joy, Fabulation, and Intimate Apparel, winner of the American Theatre Critics’ Steinberg New Play Award and the Francesca Primus Prize. Her plays have been widely produced, with Intimate Apparel receiving more productions than any other play in America during the 2005-2006 season.

"Will Eno is an original, a maverick wordsmith whose weird, wry dramas gurgle with the grim humor and pain of life."—Guardian A moving and funny new play exploring the universe of a small American town. As a friendship develops between longtime resident John Dodge and new arrival Mary Swanson, the lives of the inhabitants of Middletown intersect in strange and poignant ways in a journey that takes them from the local library to outer space and points between.

"What Lenny Bruce was to the 1950s, Bob Dylan to the 1960s, Woody Allen to the 1970s--that's what Eric Bogosian is to this frightening moment of drift in our history."--Frank Rich, The New York Times

“Gloria: A Life is a unique, deeply moving performance created in the hopeful, conversational spirit of its extraordinary subject.” —Sara Holdren, New York Magazine’s Vulture “One part theater, one part consciousness-raising group therapy session, Gloria: A Life offers an experience that promises to be a more intimate recollection of Steinem’s journey, not only because it’s been singularly shaped by the hands of women.” —Noor Brara, Vogue Five decades after Gloria Steinem began raising her voice for equality and championing the voices of others, she remains a leader of the American feminist movement. Emily Mann’s new play traces the progress of Steinem’s extraordinary life, from her undercover Playboy Bunny exposé in the 1960s, through her founding of Ms. Magazine in the 1970s, to her activism in today’s women’s movement.

“You might think a play that grapples with serious modern social issues—homophobia, teenage alienation, the limits of online privacy—would have no room for a warbling Abraham Lincoln doing an interpretive dance. But then you might not expect to encounter a piece of theater as ingenious and cannily plotted as Stephen Karam’s Speech & Debate. It is a suspenseful tale that fuses keen-eyed civic critique with riotous and even campy humor.” – Celia Wren, Washington Post “Hilarious...Speech & Debate’s real accomplishment is its picture of the borderland between late adolescence and adulthood, where grown-up ideas and ambition coexist with childish will and bravado...We never feel we’re being educated, just immensely entertained.” – Caryn James, New York Times “A provocative play...A lot of shows about teens ring inauthentic. Not this one.” – Chris Jones, Chicago Tribune “Stephen Karam’s savvy comedy is bristling with vitality, wicked humor, terrific dialogue, and a direct pipeline into the zeitgeist of contemporary youth.” – David Rooney, Variety In this unconventional dark comedy, three misfit high school students in Salem, Oregon form a unique debate club, complete with a musical version of The Crucible, an unusual podcast, and a plot to take down their corrupt drama teacher. With his signature wit, Karam traces the cohort’s attempts to fend off the menace of encroaching adulthood with caustic humor and subversive antics. Stephen Karam’s plays include The Humans (Tony Award and Pulitzer Prize finalist), Sons of the Prophet (Pulitzer Prize finalist), and Speech & Debate. His adaptation of The Cherry Orchard premiered on Broadway for the Roundabout Theatre Company.