It is a foggy and foreboding day at Muldoon Manor. This charming, but isolated, English country house is populated by tortured and suspicious characters. A game of bridge results in raised temperatures and veiled threats; a mysterious man, possibly mad, shows up to charm the lady of the house and her young friend; and a dead body lies under the sofa, waiting to be discovered. All the while, a pair of pretentious critics comment on the action, munch chocolates, complain bitterly about their professional rivals, and ogle the attractive actresses. In The Real Inspector Hound, Tony and Academy award-winning playwright Tom Stoppard has crafted a witty, surreal, and compelling tale in which identity is as changeable as a moustache, or a pair of boots, and a hack production of a tired whodunnit can be the cover for a masterful revenge plot, trained on the professional members of the audience.
Three-time Pulitzer Prize-winning author Thornton Wilder began his storied career as a novelist before branching out to short stories, screenplays, and dramatic works. At first glance, his play Our Town appears to be a simple, innocuous portrait of life in the small New Hampshire town of Grover’s Corners. But as time passes in the three acts—an ordinary day, a wedding, a death—the play builds to a soaring exploration of human existence: its boundless trials, joys, questions, certainties. This play “is one of the great democratic products of American literature. It gives you the sense that the same profound and horrible truths hold true whether you’re a sophisticate in Paris or a farmer in Grover’s Corners” (acclaimed writer Tom Perrotta in the Atlantic).