THE STORIES: NORTH OF PROVIDENCE is a painful domestic crisis between brother and sister, uncovering old wounds on the last day of their father's life. (1 man, 1 woman.) DOLORES is the story of two sisters drawn together because of domestic violenc
THE STORY: A frame shop in a southern New England town is the setting for this tragicomedy in which a dying man toils ceaselessly in order to leave his once-abused wife some postmortem financial security. He unwittingly experiences the emotional an
THE STORIES: UP, DOWN, STRANGE, CHARMED, BEAUTY, AND TRUTH. A pair of teenage sisters struggle to escape their drug-addled mother with help from their favorite down-on-his-luck uncle. Thanks to a series of wholly organic yet startlingly unexpected plot twists, neither the characters nor their situations are how they seemed when the play began. (1 man, 2 women.) LILA ON THE WALL. Journalist Lila must investigate a three-month-old story about a woman who saw Jesus’ face on a graffiti-laden wall. But the woman who saw it is off on a tour in Italy, and Carl, a young cameraman who prides himself in figuring out “emotional landscapes,” is determined to make Lila believe in something again. (1 man, 1 woman.) MAFIA ON PROZAC. Jay and Tee are a couple of hit-men sitting by the ocean and reflecting on how their lives turned out. Their intended victim, Matt, awaits his fate in a burlap sack. When Al Capone visits in a dream, the outraged and desperate Matt gets dragged into refereeing the hit-men’s argument about the mob’s future. (3 men.)
A DEAD MAN'S APARTMENT. Lonnie, a married but lonely truck driver, and Nickie, his mistress, a married but lonely hardware store clerk, meet twice a week in an apartment to talk and kiss. They have chosen a day to tell their spouses they are leaving them, but when the day comes, there is a message on Lonnie's answering machine: "You're a dead man." Lonnie wants to put off telling their spouses until he finds out who is after him, but when Nickie's brother, Al, reveals that Lonnie left his own message on the machine, Lonnie admits to being too scared to make the big move. Lonnie loses his secret life, but he realizes he loves his wife and that all this is for the best anyway. (2 men, 2 women.) ROSEMARY WITH GINGER. Two sisters meet in a closed-down diner and slowly reveal the strife they're experiencing at home: Rosemary, an alcoholic, is about to lose custody of her children, the pain of which leads her to drink more and to tolerate an abusive relationship with her boyfriend; Ginger finds herself in a loveless marriage, but more important, she needs to explain to Rosemary why she divulged Rosemary's alcoholism to her ex-husband, thus creating the custody battle. The sisters wrangle, accuse and attack, but mostly discover that, without each other, they have nothing. In the end, some hope is evident as the sisters rediscover their common bonds. (2 women.) FACE DIVIDED. In the emergency room of a Providence, Rhode Island hospital, Debbie waits for her husband. Their daughter, Jess, has fallen down the basement steps. That, at least, is what she tells the nurses, and this is the story she's sticking to. When Freddie arrives, he angrily confronts Debbie about the telltale signs of childabuse that mark their daughter. Debbie refuses to admit the truth and desperately talks about their simple life together before they were married and how she wants things back the way they were. Freddie warns Debbie that they'll lose their daughter, but Debbie won't cooperate. In the end, Freddie goes along with her story, all the while knowing that the state will do what it has to do and that Debbie will go on living in a dream world. (1 man, 2 women.)
A DEAD MAN'S APARTMENT. Lonnie, a married but lonely truck driver, and Nickie, his mistress, a married but lonely hardware store clerk, meet twice a week in an apartment to talk and kiss. They have chosen a day to tell their spouses they are leaving them, but when the day comes, there is a message on Lonnie's answering machine: "You're a dead man." Lonnie wants to put off telling their spouses until he finds out who is after him, but when Nickie's brother, Al, reveals that Lonnie left his own message on the machine, Lonnie admits to being too scared to make the big move. Lonnie loses his secret life, but he realizes he loves his wife and that all this is for the best anyway. (2 men, 2 women.) ROSEMARY WITH GINGER. Two sisters meet in a closed-down diner and slowly reveal the strife they're experiencing at home: Rosemary, an alcoholic, is about to lose custody of her children, the pain of which leads her to drink more and to tolerate an abusive relationship with her boyfriend; Ginger finds herself in a loveless marriage, but more important, she needs to explain to Rosemary why she divulged Rosemary's alcoholism to her ex-husband, thus creating the custody battle. The sisters wrangle, accuse and attack, but mostly discover that, without each other, they have nothing. In the end, some hope is evident as the sisters rediscover their common bonds. (2 women.) FACE DIVIDED. In the emergency room of a Providence, Rhode Island hospital, Debbie waits for her husband. Their daughter, Jess, has fallen down the basement steps. That, at least, is what she tells the nurses, and this is the story she's sticking to. When Freddie arrives, he angrily confronts Debbie about the telltale signs of childabuse that mark their daughter. Debbie refuses to admit the truth and desperately talks about their simple life together before they were married and how she wants things back the way they were. Freddie warns Debbie that they'll lose their daughter, but Debbie won't cooperate. In the end, Freddie goes along with her story, all the while knowing that the state will do what it has to do and that Debbie will go on living in a dream world. (1 man, 2 women.)
THE STORY: A frame shop in a southern New England town is the setting for this tragicomedy in which a dying man toils ceaselessly in order to leave his once-abused wife some postmortem financial security. He unwittingly experiences the emotional an
THE STORIES: UP, DOWN, STRANGE, CHARMED, BEAUTY, AND TRUTH. A pair of teenage sisters struggle to escape their drug-addled mother with help from their favorite down-on-his-luck uncle. Thanks to a series of wholly organic yet startlingly unexpected plot twists, neither the characters nor their situations are how they seemed when the play began. (1 man, 2 women.) LILA ON THE WALL. Journalist Lila must investigate a three-month-old story about a woman who saw Jesus’ face on a graffiti-laden wall. But the woman who saw it is off on a tour in Italy, and Carl, a young cameraman who prides himself in figuring out “emotional landscapes,” is determined to make Lila believe in something again. (1 man, 1 woman.) MAFIA ON PROZAC. Jay and Tee are a couple of hit-men sitting by the ocean and reflecting on how their lives turned out. Their intended victim, Matt, awaits his fate in a burlap sack. When Al Capone visits in a dream, the outraged and desperate Matt gets dragged into refereeing the hit-men’s argument about the mob’s future. (3 men.)
THE STORIES: NORTH OF PROVIDENCE is a painful domestic crisis between brother and sister, uncovering old wounds on the last day of their father's life. (1 man, 1 woman.) DOLORES is the story of two sisters drawn together because of domestic violenc
In this lively historical examination of American federalism, a leading scholar in the field refutes the widely accepted notion that the founding fathers carefully crafted a constitutional balance of power between the states and the federal government. Edward A. Purcell Jr. bases his argument on close analysis of the Constitution’s original structure and the ways that structure both induced and accommodated changes over the centuries. There was no clear agreement among the founding fathers regarding the "true" nature of American federalism, Purcell contends, nor was there a consensus on "correct" lines dividing state and national authority. Furthermore, even had there been some true "original" understanding, the elastic and dynamic nature of the constitutional structure would have made it impossible for subsequent generations to maintain any "original" or permanent balance. The author traces the evolution of federalism through the centuries, focusing particularly on shifting interpretations founded on political interests. He concludes with insights into current issues of federal power and a discussion of the grounds on which legitimate decisions about federal and state power should rest.
Disparities in Urban Health is for professional and course audiences. It ties together aspects of several recent and forthcoming books to show how the big ideas connect to people on a much more personal scale. In this book, Edward Wallace examines the impact of political and structural determinants of health in an urban setting"--
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.