by Young Jean Lee

Referred to by the New York Times as "hands down, the most adventurous downtown playwright of her generation," Young Jean Lee explores as many theatrical mediums as she does topics -- which is true of her exciting new work from TCG, We're Gonna Die, a musical cabaret. Drawing from true stories of people's experiences with tragedy, despair, and loneliness, Lee has created a life-affirming show about the one thing we all have in common: we're gonna die. A first for TCG, this book includes a CD of all six songs (performed by Young Jean Lee with her band Future Wife) and eight monologues from the performers of the original production.
Edited by Naomi Wallace and Ismail Khalidi

The first collection of its kind, Inside/Outside: Six Plays from Palestine and the Diaspora brings together work by six dynamic Palestinian playwrights from both occupied Palestine and the Diaspora. These plays take on Palestinian history and culture with irreverence, humor and, above all, an electrifying creativity. This anthology is a vital contribution to world theatre, introducing six politically, socially and culturally relevant plays by Palestinian authors. This collection includes Tennis in Nablus by Ismail Khalidi, Keffiyeh/Made in China by Dalia Taha, Plan D by Hannah Khalil, Handala by Abdelfattah Abusrour, Territories by Betty Shamieh and 603 by Imad Farajin.
by Tadashi Suzuki, translated by Kameron Steele

Renowned for his actor training methods, Tadashi Suzuki provides a thorough and accessible formulation of his ideas and beliefs in this new edition of his theatre writings. One of the world's most revered theatre directors, Suzuki is also a seminal thinker and practitioner whose work has had a profound influence on theatre worldwide. This landmark collection provides a useful, provocative look at his philosophical and practical approaches to the stage. Culture is the Body is a complete revision of Suzuki's influential book The Way of Acting, featuring new essays and in a revised translation by Kameron Steele, a longtime collaborator of Suzuki's.
Edited by Caridad Svich

Editor Caridad Svich has gathered forty-one essays from admired theater professionals that comprise a volume of inspiring and innovative techniques for creating theatre. Inside are words of wisdom and advice from experienced playwrights, directors, performers, teachers, dramaturgs, artistic directors and founders-each sharing the creative challenges and triumphs of developing original works for today's stages. "In this edited collection, more than forty practitioners and scholars voice their whimsical, fiery, deeply impassioned, political, funny, sometimes elegiac and stinging words prompted by a call to write about 'artistic innovation.'" - Svich, from the Introduction

3 Winters by Tena Stivicic from Nick Hern Books is a portrait of an eclectic family, held together by the courage to survive. From the remnants of monarchy, through Communism, then democracy, war, and eventual acceptance into a wider Europe, four generations of Kos women -- each one more independent than the last -- have to adapt to survive. The one constant is the house: built by aristocrats, partitioned, nationalized, it stands witness to the passing generations.
The Downtown Anthology from Playscripts, Inc. brings together innovative, thought-provoking, and daring new works from New York's downtown theater scene, offering a rich collection of plays from both up-and-coming and established playwrights. Includes: A Map of Virtue by Erin Courtney; We Are Proud To Present A Presentation About The Herero Of Namibia, Formerly Known As Southwest Africa, From The German Südwestafrika, Between The Years 1884-1915 by Jackie Sibblies Drury; Trevor by Nick Jones; The Lily's Revenge by Taylor Mac; Alice in Slasherland by Qui Nguyen; Phoebe in Winter by Jen Silverman.
Joan Littlewood: Dreams and Realities from Oberon Books observes at close hand one of the most influential theatre makers of the twentieth century. In the year when she would have been a hundred, which includes three revivals and a commemorative stamp, Peter Rankin, who worked with Joan for 38 years and in whose flat she died, takes the papers she left him and goes back to the beginning. As she told him: 'You know me better than I know myself.'

Each month, a TCG staff member will select a TCG Books title that holds a special meaning -- whether it's a show the staffer performed in, a dog-eared acting resource, a writer that continually inspires or simply a favorite play -- and we will offer a special 50% discount off that title for the month. Currently, Erin Salvi, the publications associate, has selected Will Eno's The Realistic Joneses, and here's why.
TCG Bestsellers
(July 2015) 

2.  by John Patrick Shanley 

by Annie Baker

by Stephen Sondheim and James Lapine

by Tadashi Suzuki, translated by Kameron Steele

by Anton Chekhov, translated by Richard Nelson, Richard Pevear and Larissa Volokhonsky

7. A Tempest
by Aime Cesaire

8. Inside/Outside: Six Plays from Palestine and the Diaspora
Edited by Naomi Wallace and Ismail Khalidi

9. The Vermont Plays
by Annie Baker

10. Topdog/Underdog
by Suzan-Lori Parks

TCG Titles Currently in Production


Fences by August Wilson

Writers of
Fun Home Discuss Sexuality and Capturing Realism in Musical Theatre 

On NPR's Fresh Air this week Terry Gross interviewed Alison Bechdel, the author of the autobiographical graphic novel on which the musical Fun Home is based, as well as the Tony Award-winning songwriters of the musical, Lisa Kron (book and lyrics) and Jeanine Tesori (music), both of whom are TCG authors. Listen to the full podcast here.

Annie Baker and Sam Gold: A Writer and Director Going Steady on the Job
by Alexis Soloski
New York Times

Read about Pulitzer Prize-winning playwright Annie Baker and her long-term collaboration with director Sam Gold, a match made in theatre heaven.

"The work they've gone on to make is sharp and sympathetic, funny and quietly heart-rending. Ms. Baker's writing turns casual conversation into a kind of poetry. Mr. Gold calibrates the declarations and pauses and elisions with knife-edge precision. It's a kind of theatrical pointillism: Observed up close, it isn't anything like real life, but onstage it looks and feels and sounds that way."
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