There are no less than eight intimate exchanges in this ingenious tour de farce and each has two different endings; you can see Intimate Exchanges sixteen times and not see the same play twice! And one actor and one actress play all 10 characters. This is Ayckbourn's most unusual look yet at the foibles of middle class living.1 woman, 1 man

Noises Off is not one play but two - simultaneously a traditional sex farce, Nothing On, and the backstage farce that develops during Nothing On's final rehearsal and tour. The two farces begin to interlock, as the characters make their exits from Nothing On only to find themselves making entrances into the even worse nightmare going on backstage, and exit from that only to make their entrances back into Nothing On. In the end, at the disastrous final performance in Stockton-on-Tees, the two farces can be kept separate no longer, and coalesce into one single collective nervous breakdown. Noises Off won both the Evening Standard and the Olivier Awards for Best Comedy when it was first produced, and ran in the West End for nearly five years. Michael Frayn's most recent play, Copenhagen, won both the Evening Standard Best Play Award in London and the Tony Best Play Award in New York.

Sophiatown was the ‘Chicago of South Africa’, a vibrant community that produced not only gangsters and shebeen queens but leading journalists, writers, musicians and politicians, and gave urban African culture its rhythm and style. This play, based on the life history of Sophiatown, opened at the Market Theatre in Johannesburg in February 1986 to great acclaim. The play won the AA Life Vita Award for Playwright of the Year 1985/86. This new edition of the play includes an introduction which sets the work in its historical context.

In one of the poorest cities in America - Reading, Pennsylvania - a group of factory workers struggle to keep their present lives in balance, ignorant of the financial devastation looming in their near future. Based on the playwright's extensive interviews with residents of Reading, Lynn Nottage's play Sweat is a tale of friends pitted against each other by big business, and a topical reflection of the present and poignant decline of the American Dream. The play premiered in Oregon in 2015, before being produced at the Public Theater, New York, in 2016, and the following year on Broadway, where it won the Pulitzer Prize for Drama. It received its UK premiere at the Donmar Warehouse, London, in 2018, directed by Lynette Linton, and went on to win Best Play at the 2019 Evening Standard Theatre Awards.

A play set in contemporary London where the Feigel family harbours an asylum-seeker and grapples with the morality of the law and protecting ones’ family.

Rosa and Ben Feigel are a cosmopolitan progressive, dynamic, inter-racial North London couple. Rosa is the daughter of black South African exiles, Ben is of Jewish decent - the son of a man who escaped to the UK on Kindertransport. Their adored teenage son Oliver - full of political conviction, which his parents have encouraged - has hidden his closest friend, Imran, an asylum-seeking teenager from an unnamed country, in their home. When Ben and Rosa find out, they realise they are faced with just two options: turn the child over to the authorities knowing that he will be sent back to a dangerous country, or help him to hide and endanger themselves.

A bitter argument erupts between the Feigels about the morality of the law, the limits of empathy, what we will do to protect those we love, and what we might sacrifice for strangers. Hold Still is a vivid, deeply aff ecting portrait of a long-term marriage, and a family shaped by intergenerational trauma.