School headmaster Brian Stimpson is obsessed with timeliness, order, and discipline. Brian misses his train after meticulously preparing a speech for an education conference. With no one else to turn to, he asks young former student Laura Wisely for a ride. Laura, upset over a break-up, agrees to drive him in her parents' car - which alarms her mother and father, who worry that she has run away with a married man and subsequently alert the police.

A small comedy drama about the life and sex adventures of an amorous window cleaner, in the hip and swingin' London of the '60s.

A reluctant teenager accompanies his family on a day out to a local beauty spot.

A lowly hospital orderly impersonates a recently deceased doctor and goes to work in the busy ER of a small hospital where he meets and befriends a nurse who slowly figures out his secret and helps him maintain his charade.

Dennis Potter used his own background as a Russian language clerk in the War Office when writing this play for ITV's SATURDAY NIGHT THEATRE series. At the time of the 1956 Suez Crisis and the Russian invasion of Hungary, Private Bob Hawk reports to the London Intelligence Office where the strength of Soviet troops is under scrutiny.

The title character is a married provincial schoolmaster and a notorious philanderer. He is a russian Don Juan except that he himself doesn't seek to seduce; the women around him simply find him irresistibly attractive, and he is only too happy to go along. The play predates the realism of Chekhov's later works in its desjointedness, but many of its scenes show the seeds of brilliance that would eventually emerge.

Uncle Vanya is a tragic comedy of lost hopes, stifled passions and wasted lives. Vanya is a bitter, sarcastic man, obsessed with his wasted years and what might have been. He has spent his life toiling for the benefit of the scholar, Serabryakov, who has turned out to be a charlatan. To make matters worse, Vanya has fallen in love with Serabryakov's beautiful, young, new wife, ho does not return his ardor.

A young actor and an angst-ridden city worker fight over a girl watched over by a disturbed chum. The play is concerned with three young men, Len, Pete and Mark, and the scene of action shifts back and forth between Len's house and Mark's. Sometimes all three come together, sometimes only two, and often Len is on stage alone. There are conversations and soliloquies filled with the brilliant convolutions of thought, the sudden flashes of truth which distinguish Pinter's unique style, with the mood ranging from calm introspection to explosive outpouring. Much of what is said hints at deeper thoughts left unspoken, and the sense of horror and alienation which often emerges is a searing indictment of our life and times. We meet, we talk, we tear at each other, but our insularity is seldom penetrated. We are together but alone, as though life were a mirror which reflects only our own image.

The quiet life of Oxford professor James Westgate is shattered when he is introduced to Penny, the wife of his crass new colleague.

Trevor and Susannah, whose marraige is on the rocks, inflict their miseries on their nearest and dearest: three couples whose own relationships are tenuous at best. Taking place sequentially in the three beleaguered couples' bedrooms during one endless Saturday night of co-dependence and dysfunction, beds, tempers, and domestic order are ruffled, leading all the players to a hilariously touching epiphany.