'My dad said he jumped buses. Horseboxes. Jumped an aqueduct once. He was gonna jump Stonehenge but the council put a stop to it.' On St George's Day, the morning of the local county fair, Johnny Byron, local waster and modern day Pied Piper, is a wanted man. The council officials want to serve him an eviction notice, his children want their dad to take them to the fair, Troy Whitworth wants to give him a serious kicking and a motley crew of mates want his ample supply of drugs and alcohol. Jez Butterworth's new play is a comic, contemporary vision of life in our green and pleasant land. His previous plays for the Royal Court include "The Winterling", "The Night Heron" and "Mojo". "The key British theatre work of the last decade." Time Out 2012. An Instant Modern Classic. A comic, contemporary vision of life in our green and pleasant land. BEST PLAY Evening Standard Awards BEST PLAY Critics Circle Awards.

"One of the greatest poets and dramatists of our century" (Observer) Brecht's Lehrstucke or short 'didactic' pieces written during the years 1929 to 1933, are some of his most experimental work. Rejecting conventional theatre, they are spare and highly formalised, drawing on traditional Japanese and Chinese theatre. They show Brecht in collaboration with the composers Hindemith, Weill and Eisler, influenced by the new techniques of montage in the visual arts and seeking new means of expression. Brecht intended them for performance by schools, workers' groups and choral societies rather than by professionals, with the idea that the moral and political lessons contained in them are best conveyed by participating in an actual production. In addition to the Lehrstucke, the volume contains The Mother, a longer play, again with music by Eisler, based on the novel by Gorky. A story of dawning political consciousness, told with irony and narrative drive, its central character is one of Brecht's great female roles. The original production starred Brecht's wife Helene Weigel and Brecht was buried with the red flag that was a prop in the production.

Staged in 1893, when Wilde had already achieved fame, wealth and notoriety, A Woman of No Importance was another attempt to fuse comedy of manners with high melodrama. Gerald Arbuthnot is a young man on the make, with an American heiress and the post of secretary to the brilliant but dissolute Lord Illingworth within his reach. When he asks his mother to celebrate with them, it turns out that Illingworth is Gerald's father, who seduced and abandoned his mother twenty years earlier. Loyalty weighs heavier than ambition, and Gerald declines the association with Illingworth. This edition, which also analyses Wilde's various drafts and revisions of the play, argues that the playwright here continued to explore the rivalry between an older man and woman for the affection of a beautiful young man.

Impressionist Alistair McGowan debuts his first play Timing at the Kings Head Theatre starting from the 30th September, starring Dean Gaffney (Robbie from Eastenders) and regular theatre star Edward Baker-Duly. It seems that McGowan, famed by his sketch show Big Impression on the BBC has decided to return to the theatre after his work in Cabaret (Lyric Theatre), Little Shop of Horrors (New Ambassadors Theatre) and The Mikado (Gielgud Theatre) but this time as a playwright. Teaming up with director Tamara Harvey, Timing is all about a young guy called Julian Mann (Baker-Duly) who sets off to work one morning only to find his ex-girlfriend of 5 years is at his workplace, but the complication arises in that they have not spoken since the break-up in which she broke his heart. It is set to go on until 8th November, and if McGowan's previous work is anything to go by it should be a comic hit. It should also be interesting to see how the comedian tackles more serious topics as well. --Review from spoonfed.co.uk

Edited, introduced and annotated by Cedric Watts, M.A., Ph.D., Emeritus Professor of English, University of Sussex. The Wordsworth Classics' Shakespeare's Series presents a newly-edited sequence of William Shakespeare's works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal. The Tempest is the most lyrical, profound and fascinating of Shakespeare's late comedies. Prospero, long exiled from Italy with his daughter Miranda, seeks to use his magical powers to defeat his former enemies. Eventually, having proved merciful, he divests himself of that magic, his 'art', and prepares to return to the mainland. The Tempest has often been regarded as Shakespeare's 'farewell to the stage' before his retirement. In the past, critics emphasised the romantically beautiful features of The Tempest, seeing it as an imaginative fantasia. In recent decades, however, The Tempest has also been treated as a potently political drama which offers controversial insights into colonialism and racism. Frequently staged and diversely filmed, the play has influenced numerous poets and novelists.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

A sinister night. Evil and edge in the air. What are they celebrating? Clytemnestra's world is torn apart when Agamemnon sacrifices their daughter for the sake of war. Ten years later, the couple are reunited. What follows is a dangerous battle fuelled by love, grief and power. Marina Carr's adaptation of the infamous Greek myth brings Clytemnestra's story to the fore and asks if it is possible to forgive the unforgivable. He turns to me in hall one evening, wine on him, sentimental. There is nothing I would not do to have your good opinion again, he says. Girl on an Altar opened at the Kiln Theatre, London, in May 2022.

Weary of academic study, an eminent scholar turns to magic and makes a deal with the Devil. Mephistopheles will serve him and give him whatever he wants, but after twenty-four years Faustus must keep his side of the bargain. This edition contains a detailed introductory section that puts the play in its historical context, in-depth textual notes, extracts from key critical works and exam-style questions.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.

Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.