I can't take care of you anymore. I can't take it. It's like an endless boxing match. Mia is at boarding school. She has access to drugs. They are Martha's. Henry is preparing for art college. He has access to alcohol. From Martha. Martha controls their lives. Martha is their mother. That Face premiered at the Royal Court Theatre, London, in April 2007, and won the TMA Award 2007 for Best New Play. Polly Stenham received both the Charles Wintour Award 2007 and the Critics' Circle Award 2008 for Most Promising Playwright.

It's 1950s austerity Britain, and out of the gloom comes Goon mania as men, women and children across the country scramble to get their ear to a wireless for another instalment of The Goon Show. While Harry Secombe and Peter Sellers get down to the serious business of becoming overnight celebrities, fellow Goon and chief writer Spike nds himself pushing the boundaries of comedy, and testing the patience of the BBC. Flanked by his fellow Goons and bolstered by the e orts of irrepressible sound assistant Janet, Spike takes a ourishing nosedive o the cli s of respectability, and mashes up his haunted past to create the comedy of the future. His war with Hitler may be over, but his war with Auntie Beeb - and ultimately himself - has just begun. Will Spike's dogged obsession with nding the funny elevate The Goons to soaring new heights, or will the whole thing come crashing down with the stroke of a potato peeler?

"Oh if we can just quiet the world for a moment. And listen within. There's a voice guiding you. I promise it's there. And until you can hear it, I'll be it for you." The men are all fighting, again. An endless war. From nowhere, an unexpected leader emerges. Young, poor and about to spark a revolution. Rebelling against the world's expectations, questioning the gender binary, Joan finds their power within, and their belief spreads like fire. I, Joan is a powerful and joyous new play which tells Joan of Arc's story anew. It's alive and queer and full of hope.

Three years after a difficult breakup, Steph and Greg are wondering if they can start over again. The trouble is, she's married someone else and he's started a relationship with her best friend Carly. Meanwhile, Carly's ex-husband Kent wants her back, and even more so when he hears about her new romance with his best friend Greg. As emotions run high, all four find themselves entangled in a web of hidden agendas and half-truths in their pursuit of a happy life. A companion piece to the acclaimed Reasons to Be Pretty, Neil LaBute's Reasons to Be Happy received its UK premiere at Hampstead Theatre, London, in March 2016.

HarperCollins is proud to present its new range of best-loved, essential classics. 'Though this be madness, yet there is method in't.' Considered one of Shakespeare's most rich and enduring plays, the depiction of its hero Hamlet as he vows to avenge the murder of his father by his brother Claudius is both powerful and complex. As Hamlet tries to find out the truth of the situation, his troubled relationship with his mother comes to the fore, as do the paradoxes in his personality. A play of carefully crafted conflict and tragedy, Shakespeare's intricate dialogue continues to fascinate audiences to this day.

What is home? The answer seems obvious. But Telling Our Stories of Home, an international collection of eleven plays by and about women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil, India, UK, and the US, complicates the answer. The "answer" includes stories as far-ranging as: enslaved women trying to create a home, one by any means necessary, and one in the ocean; siblings wrestling with their differing devotion to home after their mother's death; a family wrestling with the government's refusal to allow the burial of their soldier-son in their hometown; a young scholar attempting to feel at home after studying abroad; a young man fleeing home due to his sexual orientation only to discover the difficulty of creating home elsewhere, and Siddis (Indians of African descent) continuing to struggle for acceptance despite having lived in India for over 600 years. These are voices seldom represented to a larger audience. The plays and performance pieces range from 20 to 90-minute pieces and include a mix of monologue, duologue, and ensemble plays. Short yet powerful, they allow fantastic performance opportunities particularly in an age of social-distancing with flexible casts that together invite the theme of home to be performed and studied on the page. The plays include: The House by Arze Khodr (Lebanon), Happy by Kia Corthron (US), The Blue of the Island by Evelyne Trouillot (Haiti), Nine Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana (Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine) Letting Go and Moving On by Louella Dizon San Juan (US), Antimemories of an Interrupted Trip by Aldri Anunciacao (Brazil), So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here, Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)