<div><p>"What theater should be. Theater meeting life in a head-on collision. Theater grabbing us by the shirt and smacking us into walls. . . . <I>Don Juan Comes Home from Iraq</I> may become the definitive portrayal of America's twenty-first -century war experience."?<I>Philadelphia City Paper</I></p><p>"<I>Don Juan Comes Home from Iraq</I> is a powerful anti-war play. It is also powerfully theatrical and emotionally and intellectually challenging. In other words, it's terrific."?<I>Philadelphia Inquirer</I></p><p>A Marine returns home from war and discovers that his lover is missing. Searching for her, he embarks on a surrealistic tour through the streets and history of Philadelphia. By corrupting linear time and blending scenes between settings, <I>Don Juan Comes Home from Iraq</I> not only challenges perceptions of reality, but also perceptions of individual morality and of war itself. Paula Vogel based her searing new drama on Odon von Horvath's 1936 play <I>Don Juan Comes Back from the War</I>, and developed it through extensive collaboration with the director and actors of the original production, as well as years of conversation and writing workshops with recent military veterans.</p><p>A powerful, harrowing new play from the Pulitzer Prize-winning author of <I>How I Learned to Drive</I>.</p><p><B>Paula Vogel</B>'s play, <I>How I Learned to Drive</I>, received the 1998 Pulitzer Prize for Drama, the Lortel Prize, Drama Desk, Outer Critics Circle, and New York Drama Critics Awards for Best Play, as well as winning her second Obie. Other plays include <I>The Baltimore Waltz</I>, <I>Desdemona</I>, <I>And Baby Makes Seven</I>, and <I>A Civil War Christmas</I>. She has also had a distinguished career as a teacher and mentor to younger playwrights, first at Brown University and most recently at the Yale School of Drama.</p></div>