Auto da Barca do Inferno é uma alegoria dramática onde duas barcas estão à espera das almas: a do Inferno, conduzida pelo Diabo, e a da Glória, guiada pelo Anjo. Neste cenário, ocorre o julgamento das almas, a maioria das quais se destina à primeira barca.

Os personagens, que incluem um agiota, um sapateiro rico, um tolo, uma alcoviteira, um usurário, quatro cavaleiros e um frade corrupto, são representações dos vícios humanos. Mais do que uma sátira da sociedade lisboeta do início do século 16, esta obra é uma crítica mordaz e humorística aos vícios que corroem o mundo e à organização social dos homens.

Gil Vicente, considerado o primeiro dramaturgo da língua portuguesa, oferece uma peça que transcende o tempo com sua crítica social e reflexão sobre moralidade e religião. A linguagem rica e poética de Vicente cativa e provoca o pensamento, tornando a leitura uma experiência enriquecedora.

Ideal para estudantes, professores e amantes da literatura, esta obra-prima continua a ser relevante nos dias de hoje, inspirando e provocando discussões significativas sobre a vida e a morte.

Cat on a Hot Tin Roof first heated up Broadway in 1955 with its gothic American story of brothers vying for their dying father’s inheritance amid a whirlwind of sexuality, untethered in the person of Maggie the Cat.

The play also daringly showcased the burden of sexuality repressed in the agony of her husband, Brick Pollitt.

Williams, as he so often did with his plays, rewrote Cat on a Hot Tin Roof for many years—the present version was originally produced at the American Shakespeare Festival in 1974 with all the changes that made Williams finally declare the text to be definitive, and was most recently produced on Broadway in the 2003–2004 season.

This definitive edition also includes Williams’ essay “Person-to-Person”, Williams’ notes on the various endings, and a short chronology of the author’s life.

Ambition and jealousy all set to music. Devout court composer Antonio Salieri plots against his rival, the dissolute but supremely talented Wolfgang Amadeus Mozart. How far will Salieri go to achieve the fame that Mozart disregards?

This play features a full cast with performances by:

• Steven Brand as Baron van Swieten
• James Callis as Mozart
• Michael Emerson as Salieri
• Darren Richardson as Venticello 2
• Alan Shearman as Count Orsini-Rosenberg
• Mark Jude Sullivan as Venticello 1
• Simon Templeman as Joseph II
• Brian Tichnell as Count Johann Kilian Von Strack
• Jocelyn Towne as Constanze

Directed by Rosalind Ayres. Recorded in Los Angeles before a live audience at The James Bridges Theater, UCLA in September of 2016.

Euripides' classic drama delves into the often mortifying consequences of the unbridled—and frequently hysterical—celebration of the feast of Dionysus, the God of wine.

This powerful narrative explores themes of divine retribution and the clash between order and chaos, as Dionysus exacts revenge on Pentheus, the King of Thebes, and his people.

The Comedy of Errors is a delightful tale revolving around two sets of twins who are separated at birth by a fierce storm at sea. The pairs include masters (both named Antipholus) and their servants (both named Dromio). Years later, the Antipholus-and-Dromio pair raised in Syracuse accidentally visit Ephesus, where their respective twins reside. This sets the stage for a series of hilarious incidents of mistaken identity, leading to lively plots filled with quarrels, arrests, and a grand courtroom denouement.

Based on a pair of comic dramas from ancient Rome, The Comedy of Errors is a spectacle of pure farce in the spirit of utmost fun and—as the title suggests—hilarious confusion. As one of Shakespeare's earliest dramatic efforts, the play is rich with his trademark conceits, puns, and other forms of fanciful wordplay. This work also foreshadows his later and greatest comedies, offering students and scholars a valuable key to the playwright's development.