The play in question is A Raisin in the Sun, a work that portrays the experiences of an impoverished black family in mid-century Chicago. It is known for its cast of almost exclusively African-American characters as well as its involvement in a U.S. Supreme Court case about racist housing policies.

The theatrical genre described in the question is vaudeville, a genre that developed in late-nineteenth- and early-twentieth-century America. It has its roots in a range of different disciplines, including stage magic, burlesque, circus sideshows, and musical theater.

The author is Edward Albee, an award-winning American playwright who was born in 1928. The play follows the disintegration of the marriage of an impotent middle-aged couple and is remarkable for its interplay of reality and illusion.

The play described in the question stem is Tom Stoppard’s Rosencrantz and Guildenstern are Dead, which follows the offstage adventures of Hamlet’s two hapless friends. The conceit is that the eponymous characters are confused by the plot of Hamlet, which they aren’t privy to, and this conceit allows Stoppard to pose strong existential questions about human purpose and determinism.

Glengarry Glen Ross was written by David Mamet and won the Pulitzer Prize in 1984. It centers on the machinations of four unscrupulous real estate agents in Chicago who are trying their best to sell the two pieces of real estate in the play’s title. It is known for its exquisite dialogues and attention to language.

These lines are from the 1893 play Mrs. Warren's Profession by George Bernard Shaw. This quote is by Mrs. Warren (a former prostitute and current brothel owner) during a conversation with her daughter, Vivie. Vivie has returned home from college and is finally aware of her mother's occupation, causing much debate throughout the course of the play.

These lines are from George Bernard Shaw’s 1913 play Pygmalion. The play centers on Eliza Doolittle, a seemingly simple Cockney flower girl, who Professor Henry Higgins attempts to transform into a sophisticated and well-spoken lady who can pass as a duchess. The name of the play comes from the Greek mythological character, Pygmalion, a sculptor who falls in love with his sculpture when it comes to life. The passage contains two majors clues as to its source material: it mentions "Eliza" and it discusses manners.

Passage adapted from Act V of Pygmalion by George Bernard Shaw (1913)

These lines are adapted from of William Congreve's play The Way of the World, first performed in 1700. The play's main characters, Mirabell and Millamant, are lovers attempting to marry, but Millamant's aunt, Lady Wishfort, tries to foil their plans by getting her own nephew, Sir Wilfull, to marry Millamant instead.

Adapted from The Way of the World by William Congreve, II.i (1700)

These lines, exchanged between Jack and Algernon, are from Oscar Wilde’s play The Importance of Being Earnest. The play, whose full title is The Importance of Being Earnest: A Trivial Comedy for Serious People, was first performed in 1895. It is a satirical look at Victorian social rules and obligations. The word "bunburying" is famously used in its plot to mean to assume an alter ego in a different locale so as to get out of social obligations. Much of the play's plot and repartee centers around identity, and in particular, confusion surrounding the name "Ernest."

Passage adapted from Act II of The Importance of Being Earnest by Oscar Wilde (1895)

These lines, spoken by Mabel Chiltern, are from Oscar Wilde's 1895 comedic play An Ideal Husband. The play centers on themes of political corruption and honor.

Passage adapted from Act IV of An Ideal Husband by Oscar Wilde (1895)