Meet the couple every couple wants to be. Attractive and immaculately turned out, they are the perfect team. Tomorrow they will be in Stockholm, a city where, in summer, the sun shines 24/7 and sometimes it's dark all day long. Today it's his birthday and she's going to give him all his presents and treats and surprises. Treading a fine line between tenderness and cruelty, Stockholm reveals a relationship unravelling. It's beautiful, but it's not pretty. Stockholm unites leading physical theatre company Frantic Assembly with award-winning playwright Bryony Lavery and designer Laura Hopkins (Black Watch, Mercury Fur) to deliver an extraordinary perspective on the nature of modern love. Stockholm opened at the Theatre Royal Plymouth in September 2007.

An analytical record of all plays, extinct or lost, chronologically arranged and indexed by authors, titles and dramatic companies.

(Applause Books). To celebrate the 20th anniversary of the Reduced Shakespeare Company's classic farce, two of its original writer/performers (Daniel Singer and Jess Winfield) have thoroughly revised the show to bring it up to date for 21st-century audiences, incorporating some of the funniest material from the numerous amateur and professional productions that have been performed around the world. The cultural touchstone that is The Complete Works of William Shakespeare (abridged) was born when three inspired, charismatic comics, having honed their pass-the-hat act at Renaissance fairs, premiered their preposterous masterwork at the Edinburgh Festival Fringe in 1987. It quickly became a worldwide phenomenon, earning the title of London's second-longest-running comedy after a decade at the Criterion Theatre. The Complete Works of William Shakespeare (abridged) is one of the world's most frequently produced plays, and has been translated into several dozen languages. Featured are all 37 of Shakespeare's plays, meant to be performed in 97 minutes, by three actors. Fast paced, witty, and physical, it's full of laughter for Shakespeare lovers and haters alike.

'I'd get freaked out here, alone in the dark. Wondering what's lurking at the bottom of the bed, ready to grab your feet.' Jenny and Sam - and their baby Phoebe - have recently moved into their new home. But something feels frightening and wrong. Very wrong. Over the baby monitor, at 2:22 every night, Jenny hears footsteps around her daughter's cot. Could the house be haunted? When their friends Lauren and Ben come round for a housewarming dinner, they drink wine, relive their pasts, and argue about the existence of ghosts. They decide to stay up until 2:22, to discover the truth. Over one adrenaline-filled night - as the foxes scream outside - secrets will emerge and ghosts may appear... Spine-chilling, funny and scary, Danny Robins' play 2:22 was premiered at the Noel Coward Theatre in London's West End in August 2021, directed by Matthew Dunster, and starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It went on to win Best New Play at the 2022 WhatsOnStage Awards, and was nominated for Best New Play at the Olivier Awards. 2:22 provides rich opportunities for any drama group wanting to make things go bump in the night - and their audiences scream.

Song List includes: Beautiful, Candy Store, Fight for Me, Freeze Your Brain, Dead Girl Walking, Our Love is God, My Dead Gay Son, Seventeen, Lifeboat, Kindergarten Boyfriend, Meant to Be Yours, and Seventeen Reprise

TREMBLE as she faces Matron Stinking Bottomly. THRILL as she discovers the squirrel house and Tanglefield's Travelling Circus. GASP as she endures a night locked in the attic. QUAKE as she braves the scary streets of Victorian London and CHEER as she overcomes all in the search to find her real mother and a true family of her own. From bestselling author Jacqueline Wilson, the tale of plucky Hetty Feather is brought thrillingly to life on stage by award-winning script writer Emma Reeves (CBBC's The Story of Tracy Beaker) and the Olivier Award-Nominated director Sally Cookson whose many five-star productions include Peter Pan, We're Going on a Bearhunt and Stick Man. With a huge heart, Hetty Feather is a terrific adventure story! 'The play sticks to my basic story, but with many inventive touches that constantly took me by surprise... [it] was a magical experience.' Jacqueline Wilson

Shakespeare and Cultural Appropriation pushes back against two intertwined binaries: the idea that appropriation can only be either theft or gift, and the idea that cultural appropriation should be narrowly defined as an appropriative contest between a hegemonic and marginalized power. In doing so, the contributions to the collection provide tools for thinking about appropriation and cultural appropriation as spectrums constantly evolving and renegotiating between the poles of exploitation and appreciation. This collection argues that the concept of cultural appropriation is one of the most undertheorized yet evocative frameworks for Shakespeare appropriation studies to address the relationships between power, users, and uses of Shakespeare. By robustly theorizing cultural appropriation, this collection offers a foundation for interrogating not just the line between exploitation and appreciation, but also how distinct values, biases, and inequities determine where that line lies. Ultimately, this collection broadly employs cultural appropriation to rethink how Shakespeare studies can redirect attention back to power structures, cultural ownership and identity, and Shakespeare's imbrication within those networks of power and influence. Throughout the contributions in this collection, which explore twentieth and twenty-first century global appropriations of Shakespeare across modes and genres, the collection uncovers how a deeper exploration of cultural appropriation can reorient the inquiries of Shakespeare appropriation studies. This collection will be of great interest to students and scholars in theatre and performance studies, Shakespeare studies and adaption studies.

This book analyses the epistemological problems that Shakespeare explores in Othello. In particular, it uses the methods of analytic philosophy, especially the work of the later Wittgenstein, to characterize these problems and the play.

This book lays bare the dialogue between Shakespeare and critics of the stage, and positions it as part of an ongoing cultural, ethical, and psychological debate about the effects of performance on actors and on spectators. In so doing, the book makes a substantial contribution both to the study of representations of theatre in Shakespeare's plays and to the understanding of ethical concerns about acting and spectating-then, and now. The book opens with a comprehensive and coherent analysis of the main early modern English anxieties about theatre and its power. These are read against 20th- and 21st-century theories of acting, interviews with actors, and research into the effects of media representation on spectator behaviour, all of which demonstrate the lingering relevance of antitheatrical claims and the personal and philosophical implications of acting and spectating. The main part of the book reveals Shakespeare's responses to major antitheatrical claims about the powerful effects of poetry, music, playacting, and playgoing. It also demonstrates the evolution of Shakespeare's view of these claims over the course of his career: from light-hearted parody in A Midsummer Night's Dream, through systematic contemplation in Hamlet, to acceptance and dramatization in The Tempest. This study will be of great interest to scholars and students of theatre, English literature, history, and culture.

Subhi is a refugee. Born in an Australian permanent detention centre after his mother fled the violence of a distant homeland, life behind the fences is all he's ever known. Now his imagination is pushing at the limits of his world. One day, Jimmie appears on the other side of the fence, bringing a notebook written by the mother she lost. Unable to read it, she relies on Subhi to unravel her own family's mysterious and moving history. Together, Subhi and Jimmie must find a way to freedom, and they must be braver than they've ever been before... The Bone Sparrow, Zana Fraillon's powerful and deeply moving novel about the displacement and treatment of refugees and sanctuary seekers, has been widely read and studied around the world since its publication in 2017. This enthralling stage adaptation by award-winning Australian playwright S. Shakthidharan was first produced on a UK tour in 2022 by Pilot Theatre with York Theatre Royal, Derby Theatre, Belgrade Theatre, Coventry, and Mercury Theatre Colchester. Also included is a range of teaching materials and resources designed to help educators bring the play to life for their students. Praise for the novel, The Bone Sparrow: 'With an affecting and distinctive narrative voice... [Zana Fraillon] builds a convincing and complete world. Moving and memorable, The Bone Sparrow deserves to be read by all who care about our common humanity' Guardian 'A heartrending tale about how our stories make us, and also an angry polemic, vividly convincing in its detailed description of what it means for your home to be a tent in the dust behind a guarded fence' Sunday Times 'This is a tragic, beautifully crafted and wonderful book whose chirpy, stoic hero shames us all' Independent Winner of the Amnesty CILIP Honour Award Shortlisted for the Carnegie Award and the Guardian Children's Fiction Prize

Private Peaceful relives the life of Private Tommo Peaceful, a young First World War soldier awaiting the firing squad at dawn. During the night he looks back at his short but joyful past growing up in rural Devon: his exciting first days at school; the accident in the forest that killed his father; his adventures with Molly, the love of his life; and the battles and injustices of war that brought him to the front line. Winner of the Blue Peter Book of the Year, Private Peaceful is by the third Children's Laureate, Michael Morpurgo, award-winning author of War Horse. His inspiration came from a visit to Ypres where he was shocked to discover how many young soldiers were court-martialled and shot for cowardice during the First World War. This edition also includes introductory essays by Michael Morpurgo, Associate Director of Private Peaceful production Mark Leipacher, as well as an essay from Simon Reade, adaptor & director of this stage adaptation of Private Peaceful.

David conducts an office romance by e-mail. He has love at his fingertips. But a shocking admission unravels his relationship piece by chilling piece. Jess loves David. She believes happiness can be bought - but it doesn't come cheap in a world of easy credit. Jess and David's ideal blend of love and money is killing them. Funny but heart wrenching, this ingenious drama dares us to enter a dislocated world of bad debts and even worse desires. Love and Money opened at the Manchester Royal Exchange in October 2006 with a transfer to the Young Vic, London.

A romp through the bubble-gum years of teenage life. Angela and Mazine, besotted with Madonna, play truant from school, form a band, attempt to write songs and, with hairbrushes in hand, live out their adolescent dreams of becoming famous. Meanwhile Angela's mother, Viv, struggles to come to terms with her marriage break-up and her daughter's explosive lifestyle, as the play rollercoasters through hope, sex, ambition, despair, and, most of all, love.

First, do no harm. How do we defend the "truth" when no one agrees what it is and many have reason to undermine it? Very freely adapting Professor Bernhardi by Arthur Schnitzler, Robert Icke's gripping moral thriller uses the lens of medical ethics to examine urgent questions of faith, belief, and scientific rationality. After a critically acclaimed run at London's Almeida Theatre, The Doctor transferred to the West End in September 2022. This revised and updated edition was published to coincide with the new production.

Nicolas is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. A different school, a fresh start. When he senses he isn't wanted there, he decides to go back to his mother's. But what happens when the options dry up? I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son completes a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premiered at the Kiln Theatre, London, in February 2019, and transferred to the Duke of York's Theatre in August.

I Was There... is a perfect introduction for younger readers into stories from the past, allowing children to imagine that they were really there. I Was There... Ira Aldridge tells the exciting story of the African-American actor, Ira Aldridge, who rose to fame on the London stage. Brilliantly imagined, readers aged 7+ will love this first-hand account of a child's experience of nineteenth-century London and the vibrant life of the theatre. Amazing black-and-white illustrations throughout bring the story to life! Perfect stories for children who are struggling with their reading

Playwright and novelist Nigel Williams's stage adaptation of William Golding's story was first professionally produced by the Royal Shakespeare Company at Stratford-upon-Avon in July 1995. 'Remarkably true to the novel in spirit . . . the theatre lends itself particularly well to the ritualistic aspects of the story - chanting, dancing, marching, forming a circle round the victim, stamping out a fire . . . You end up feeling you have seen a fable of infinite implications enacted in a little room.' Sunday Telegraph This special acting edition, particularly suitable for schools and amateur groups, contains the full playtext as well as notes on staging, a full properties list and lighting and sound cues.

Percy Lifar', a Play in Two Acts, 1986, as represented by Curtis Brown Ltd., London and performed by The Hot Toddy Theatre Company (Mark Normandy, Director), The Photographers' Gallery, London, 198

"The Century Cycle" is August Wilson's epic dramatization of the African-American experience and heritage in the 20th century. Wilson's extraordinary lifework has been called one of the most ambitious dramatic projects ever undertaken. "(New York Times)" It is presented here for the first time in its entirety in a ten-volume, hardcover, slipcased edition.