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Bernard is planning a romantic weekend with his chic Parisian mistress in his charming converted French farmhouse, whilst his wife, Jacqueline, is away. He has arranged for a cordon bleu cook to prepare gourmet delights -- and has invited his best friend, Robert, along as well to provide an alibi. It's foolproof; what could possibly go wrong? Well ... suppose Robert turns up not realizing quite why he has been invited. Suppose Robert and Jacqueline are secret lovers, and consequently determined that Jacqueline will NOT leave for the weekend. Suppose the cook has to pretend to be the mistress and the mistress is unable to cook. Suppose everyone's alibi gets confused with everyone else's. An evening of hilarious confusion ensues as Bernard and Robert improvise at breakneck speed.

Percy Jackson is a teenage boy who always seems to get into trouble, no matter how hard he tries to be good. When he is expelled from school for the sixth time, his mother decides that it is time for Percy to know the truth. The Greek gods are real and, what’s more, Percy is a demigod, the son of Poseidon. Along with fellow demigod Annabeth (the daughter of Athena) and best friend and protector Grover (who happens to be a Satyr), Percy must go on an epic quest to retrieve Zeus’ stolen lightning bolt and prevent war amongst the gods. The quest turns into an epic adventure, with the Furies, Medusa, and Ares (the god of war) among those wanting to stop Percy in his tracks. With time running out, Percy soon discovers that nothing is normal when you’re a demigod.

Winner of the 2009 Tony Award for Best Play, God of Carnage relates an evening in the lives of two couples, residents of a tIny Brooklyn neighborhood, who meet to discuss a playground incident. Alan and Annette’s son hit Michael and Veronica’s son in the face with a stick, resulting in two broken teeth. The four of them agree to discuss the incident civilly, but, as the night wears on and drinks are imbibed, the polite veneer breaks down. The couples initially spar against each other, but the men gang up on the women and the spouses switch sides as the fighting continues. Reza’s play suggests that our civilized trappings do a poor job of hiding our venality and bile.