The Ritz: A new comedy

Terrence McNally

French

From Wikipedia:The musical focuses on Anna, the owner of a dilapidated roller skating rink on the boardwalk of a decaying seaside resort, who has decided to sell it to developers. Complicating her plans are her prodigal daughter Angel, who returns to town seeking to reconnect with the people and places she long ago left behind. Through a series of flashbacks, revelations, and minimal forward-moving plot development, the two deal with their pasts in their attempt to reconcile and move on with their lives.

The Rink: A New Musical (French's Musical Library)

Music by John Kander

Lyrics by Fred Ebb

S. French

1998 Grove Press. Hardcover, 82 pages. One of the most controversial play of the decade, Corpus Christi was heralded by Richard Zoglin in Time as "one of McNally's best, most moving and personal works...His updating of the Christ story is witty but not patronizing, as sober and cleansing as a dip in baptismal water."...

Corpus Christi

GROVE PRESS

Out front: Contemporary gay and lesbian plays

Gathers eleven plays, that deal with the social, psychological, and emotional aspects of homosexual life

Out Front: Contemporary Gay and Lesbian Plays

Literature & Fiction

Holly Hughes

Harry Kondoleon

Emily Mann

Harvey Fierstein

Robert Chesley

William M. Hoffman

Martin Sherman

Evan Smith

Dramas & Plays

Book by Terrence McNally, McNally, Terrence

And Things That Go Bump in the Night.

MCNALLY, Terrence

Dramatist's Play Service

Apple Pie: Three Short Plays.

Humor & Entertainment

A full length comedy for one man and one woman. The setting is a walk-up apartment on Manhattan's West Side where, as the curtain rises, Frankie (a waitress) and Johnny (a short-order cook who works in the same restaurant) are discovered in bed. It is their first encounter, after having met several weeks ago on the job, and Frankie is hopeful that Johnny will now put on his clothes and depart, so she can return to her usual routine of watching TV and eating ice cream. But Johnny, a compulsive talker (and romantic), has other ideas. He is convinced that he loves Frankie, a notion that she, at first, considers to be ridiculous. She has had more disappointments than delights in life, and he is the veteran of one broken marriage already. And neither of them is in the bloom of youth. Yet out of their sometimes touching, sometimes hilarious interplay the promise of a relationship beyond a "one-night stand" does begin to emerge and, as the lights dim, the two are back in bed again, but this time side-by-side, holding hands before the glowing television screen.

Frankie and Johnny in the Claire de Lune (Acting Edition for Theater Productions)

Written for a cast of 5 men and 3 women. It's the opening night of The Golden Egg on Broadway, and the wealthy producer Julia Budder is throwing a lavish party in her lavish Manhattan townhouse. Downstairs the celebrities are pouring in, but the real action is upstairs in the bedroom, where a group of insiders have staked themselves out to await the reviews. The group includes the excitable playwright; the possibly unstable wunderkind director; the pill-popping leading lady, treading the boards after becoming infamous in Hollywood; and the playwright's best friend, for whom the play was written but who passed up this production for a television series. Add to this a drama critic who's panned the playwright in the past and a new-in-town aspiring singer, and you have a prime recipe for the narcissism, ambition, childishness, and just plain irrationality that infuse the theatre-and for comedy. But don't worry: This play is sure to be the hit they have all been hoping for.

It's Only a Play.

For a 2 man, 2 woman cast. A gay community in Fire Island provides an unlikely setting for two straight couples who are discovered lounging poolside, staring out to sea. Sally, married to Sam, a New Jersey contractor, has inherited the house from her brother who died of AIDS. Sam's hyperkinetic sister, Chloe, and her smug, aristocratic husband, John, have come out for the Fourth of July weekend. Amidst the seemingly mundane activities, it becomes apparent that the two men despise each other because John has had an affair with Sally; Sally is panicked and melancholy because she is pregnant and fears miscarriage; and Chloe seems determined to drive them all mad with her incessant babble and enthusiasm for musical comedies. Through monologues unheard by the others, the characters reveal a desperate sense of individual isolation. The only people these four characters find more alien are the gay men partying in the houses on either side of them. As they divert themselves from their own mortality with food, cocktails, The New York Times crossword puzzle, fireworks, charades, and biting jabs at each other and the boys next door, Sally and Sam and John and Chloe find little to celebrate about themselves or their country on its birthday.

Lips Together, Teeth Apart.

Cast: 4M. The first act is set in the fussily ornate apartment of Mendy, a ferociously dedicated opera buff who begs and cajoles his friend Stephen to let him borrow his copy of the pirated Maria Callas recording of La Traviata made during a performance in Lisbon, Portugal. Stephen, a blocked playwright whose detailed knowledge of opera exceeds even Mendy's, delights in showing off his expertise while dodging his friend's entreaties, but beneath their often hilarious banter it is evident that both men are deeply unhappy-Mendy because of his loneliness, and Stephen because he is aware that his longtime roommate (whom he loves deeply) is having an affair with someone else. Both it seems, are trapped within opera, with its grand but contrived passions becoming a neurotic substitute for real life. But in the second act, that takes place in Stephen's starkly modern apartment, reality arrives with stunning force as Stephen confronts his roommate, Mike, and tries to salvage their relationship. Sensing his failure, Stephen turns on Mike and his new lover, Paul, driving the latter away and taunting Mike so venomously that all hope of a reconciliation is soon shattered. And, in the end, it is the operatic, the grandly tragic, which assumes control again as Stephen, unable to accept life and reality on their own terms, stabs his errant lover-tortured by his continuing lack of creative fulfillment and by the compelling need to preserve the illusion of love and fidelity to which he has clung so desperately.

The Lisbon Traviata. (Acting Edition for Theater Productions)

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Books by Terrence McNally