THE STORY: In a barrio living room in North Philly, an activist-turned-music-professor moonlights as the local soup kitchen queen, cooking free rice and beans for any hungry neighbor. Halfway around the world, her cousin relives his military trauma on the set of a docudrama that's filming in Jordan. With the Egyptian revolution booming in the distance, these two young adults try to sing a defiant song of legacy and love in the face of local and global unrest.

"Elliot, A Soldier's Fugue is that rare and rewarding thing: a theatre work that succeeds on every level while creating something new. The playwright combines a lyrical ear with a sophisticated sense of structure to trace the legacy of war through three generations of a Puerto Rican family. Without ever invoking politics, Elliot, a Soldier's Fugue manages to be a deeply poetic, touching and often funny indictment of the war in Iraq."—The New York Times From Quiara Alegría Hudes, the Pulitzer Prize-winning author of Water by the Spoonful, comes this companion play, itself a Pulitzer finalist. In a crumbling urban lot that has been converted into a verdant sanctuary, a young Marine comes to terms with his father's service in Vietnam as he decides whether to leave for a second tour of duty in Iraq. Melding a poetic dreamscape with a stream-of-consciousness narrative, Elliot, A Soldier's Fugue takes us on an unforgettable journey across time and generations, lyrically tracing the legacy of war on a single Puerto Rican family. Elliot, A Soldier's Fugue, a finalist for the 2007 Pulitzer Prize, is the first installment in a trilogy of plays that follow Elliot's return from Iraq. The second play, Water by the Spoonful, received the 2012 Pulitzer Prize and will be published by Theatre Communications Group concurrently with Elliot, A Soldier's Fugue. The trilogy's final play, The Happiest Song Plays Last, premiered in April 2012 at Chicago's renowned The Goodman Theatre.

THE STORY: Somewhere in Philadelphia, Elliot has returned from Iraq and is struggling to find his place in the world. Somewhere in a chat room, recovering addicts keep each other alive, hour by hour, day by day. The boundaries of family and communi

“This is a fresh take on the American road story, filled with people and ideas we rarely get to see onstage…It offers two seriously rich roles for women, each with important things worth singing about…Miss You Like Hell is a powerful example of what musicals do best: explore the unprotected border where individual needs and social issues intermix.” —Jesse Green, New York Times A troubled teenager and her estranged mother—an undocumented Mexican immigrant on the verge of deportation—embark on a road trip and strive to mend their frayed relationship along the way. Combined with the musical talent of Erin McKeown, Hudes artfully crafts a story of the barriers and the bonds of family, while also addressing the complexities of immigration in today’s America.

In a tucked away corner of North Philly, six regulars gather at a neighborhood watering hole. Over twenty years, they turn their collective memories into a vivacious mythology. The tales they’d rather forget, however, keep sneaking up and tapping them on the shoulder. At Daphne’s Dive, an aloe plant, a girl’s sneaker, a stiff drink, and mounds of trash become talismanic treasures to a group of outsiders trying to be “in” together.

This book is a ground-breaking collection on contemporary Arab theatre. Through three sections discussing occupation and resistance, diaspora, migration, and refugees, and nationalism and belonging, this study provides nuanced responses to the contested points of intersection between Arab culture and the West, as well as many of the major concerns within contemporary Arab theatre. The collection draws together scholars from the Middle East, North Africa, Europe, and the United States who write about Arab theatre and the representation of Arabs on European and American stages. It introduces concerns in contemporary Arab theatre, the regions in which Arab theatre is performed, and the issues with representations of Arabs onstage. This volume will be of great significance for those interested in expanding the range of global, postcolonial, African, Asian, or diasporic theatre that they study, teach, or stage.

THE STORY: A Cuban boy is born into a humble farming family, but after his first taste of cold Coca-Cola, he dreams of a world beyond his family's meager acre. Naively yearning to meet the President of America, the play follows his epic journey i