Bafana Republic And Other Satires is a selection of monologues from a series of one-person satirical revues. Using the 2010 FIFA World Cup as an entry point for satirical commentary, the sketches focus on various issues facing democratic South Africa: state 'vanity' projects, land issues, abuse of women and state capture.

In any deeply polarised society, satire provides an effective means for challenging audiences. Van Graan's potent mix of comedy, poetry and drama compels audiences to reflect on controversial topics in a non-alienating, thought-provoking and thoroughly entertaining way. The collection tackles themes of corruption, colonialism, violence against women, AIDS denialism, violent crime, racism and inequality head on. Readers or audience members cannot remain unaffected by the use of humour, exaggeration, irony and ridicule in the sketches to highlight social and political issues and human foibles. They will laugh and cringe and sometimes cry, but ultimately they will appreciate more deeply the beauty and humanity of their country, and perhaps feel recharged with hope.

The sketches in the collection come from six one-person revues:

• Bafana Republic (2007),
• Bafana Republic: Extra Time (2008),
• Bafana Republic: Penalty Shootout (2009),
• Pay Back the Curry (2016),
• State Fracture (2017)
• Land Acts (2018)

The compilation can be used as monologues for exam purposes or as acting exercises for drama students, or selections can be made from the sketches to make up one-person shows of varying lengths.

This volume uniquely draws together seven contemporary plays by a selection of the finest African women writers and practitioners from across the continent, offering a rich and diverse portrait of identity, politics, culture, gender issues and society in contemporary Africa.

Niqabi Ninja by Sara Shaarawi (Egypt) is set in Cairo during the chaotic time of the Egyptian uprising.

Not That Woman by Tosin Jobi-Tume (Nigeria) addresses issues of violence against women in Nigeria and its attendant conspiracy of silence. The play advocates zero-tolerance for violence against women and urges women to bury shame and speak out rather than suffer in silence.

I Want To Fly by Thembelihle Moyo (Zimbabwe) tells the story of an African girl who wants to be a pilot. It looks at how patriarchal society shapes the thinking of men regarding lobola (bride price), how women endure abusive men and the role society at large plays in these issues.

Silent Voices by Adong Judith (Uganda) is a one-act play based on interviews with people involved in the LRA and the effects of the civil war in Uganda. It critiques this, and by implication, other truth commissions.

Unsettled by JC Niala (Kenya) deals with gender violence, land issues and relations of both black and white Kenyans living in, and returning to, the country.

Mbuzeni by Koleka Putuma (South Africa) is a story of four female orphans, aged eight to twelve, their sisterhood and their fixation with death and burials. It explores the unseen force that governs and dictates the laws that the villagers live by.

Bonganyi by Sophia Kwachuh Mempuh (Cameroon) depicts the effects of colonialism as told through the story of a slave girl: a singer and dancer, who wants to win a competition to free her family.

Each play also includes a biography of the playwright, the writer's own artistic statement, a production history of the play and a critical contextualisation of the theatrical landscape from which each woman is writing.

Ont is ʼn drama oor die reis van “grootword”, ʼn studie oor die samestelling van ʼn gesin en die vreugdes van vryheid en vlug. Die proses van menswording word met deernis geskets met behulp van die Groot Verseboek, Ma se grammofoonspeler en Pa se Camel filters.

Marina Griebenow sê: 'n Mens besef net weer dat ware skoonheid in eenvoud opgesluit lê, oftewel in die skyn van eenvoud. Die treffendste kuns kan altyd aan dié goue reël gemeet word.

Die bekroonde Ont het feitlik elke dramaprys verower nadat dit feesgangers en kritici gaande gehad het … kragtoer waarin Pretorius vir ons die estetika van toneelkuns herdefinieer en sodoende ons menswees mateloos verryk.

When it was first produced in 1959, A Raisin in the Sun was awarded the New York Drama Critics Circle Award for that season and hailed as a watershed in American drama. A pioneering work by an African-American playwright, the play was a radically new representation of black life. "A play that changed American theater forever."--The New York Times.

The Patient, known as Mrs. Wingfield, has been horribly injured in a fall from her balcony. Unable to communicate, it could have been an accident, attempted suicide or worse still a coldblooded killer bent on murder. While relatives gather around her hospital bed the tension builds as an ingenious device helps Mrs. Wingfield convey a message that could solve the mystery.

A Methuen Student Edition of Chekhov's classic play in Michael Frayn's acclaimed translation 'The play has been flooded with light, like a room with the curtains drawn back' John Peter, Sunday Times 'The direct simplicity of this new translation ... uncovers not only the nerve endings of Chekhov's restless malcontents but also their comic absurdities. It is, as he always intended, actually funny ...' Jack Tinker, Daily Mail When it opened in St Petersburg in 1896, The Seagull survived only five performances after a disastrous first night. Two years later it was revived by Nemirovich-Danchenko at the newly-founded Moscow Art Theatre with Stanslasky as Trigorin and was an immediate success. Checkhov's description of the play was characteristically self-mocking: "A comedy - 3F, 6M, four acts, rural scenery (a view over a lake); much talk of literature, little action, five bushels of love". Michael Frayn's translation was commissioned by the Oxford Playhouse Company.

One of the nineteenth century's most successful and most frequently revived plays, An Ideal Husband has divided critics more than any other of Wilde's plays. Treating political intrigue, financial fraud, blackmail, scandal and spin, and the role of women in public life, it is a play which engaged with issues of vital importance to its late-Victorian audience, which continue to resonate today. Sos Eltis, a specialist in Victorian drama and its relation to women's issues, provides a stimulating new perspective on An Ideal Husband, through an introduction that looks at its relation with contemporary social purity campaigns, women's rights, and political scandals. The introduction also gives a substantial performance history, with particular reference to the play's film versions and the influential Peter Hall theatre production.

Although the myth of Atreus' gruesome vengeance on his brother, Thyestes, was embedded in Greek and Roman culture long before his time, Seneca's play is the only literary or dramatic account to have survived intact. Written probably in late Neronian Rome, Thyestes is now widely regarded as one of the tragedian's finest achievements and represents Seneca's most mature reflections on power and civilization, and on the tragic theatre itself. The play's impact on European literature and drama from antiquity to the present has been considerable; now much studied in universities and colleges, and regularly adapted and performed, it still contains much that speaks pointedly to our times: its focus on appetite, lust, violence, and horror; its preoccupation with rhetoric, morality, and power; its concern with the problematics of kinship, and with political, social, and religious institutions and their fragility and impotence; its dramatization of reason's failure, the triumph and cyclicity of evil, the determinism of history, the mastery of the world through mastery of the word; its theatricalized and godless universe. This new edition of Seneca's Thyestes offers a comprehensive introduction, newly edited Latin text, an English verse translation designed for both performance and high-level academic study, and a detailed exegetic, analytic, and interpretative commentary on the play. The aim throughout has been to elucidate the text dramatically as well as philologically, and to locate the play firmly in its contemporary historical and theatrical context and in the ensuing literary and dramatic tradition. As such, the reception of the play by European dramatists is given especial emphasis in the introduction and throughout the commentary; this and the accessible notes on the text make this edition of particular use not only to scholars and students of classics, but also of literature and drama, and to anyone interested in the cultural dynamics of literary reception and in the interplay between theatre and history.

Elesin Oba, the King's Horseman, has a single destiny. When the King dies, he must commit ritual suicide and lead his King's favourite horse and dog through the passage to the world of the ancestors. A British Colonial Officer, Pilkings, intervenes to prevent the death and arrests Elesin. The play is a set text for NEAB GCSE, NEAB A Level and NEAB A/S Level. 'A masterpiece of 20th century drama' - Guardian "A transfixing work of modern world drama" (Independent); "clearly a masterpiece. . . he achieves the full impact of Greek tragedy" (Irving Wardle, Independent on Sunday); "the action of the play is as inevitable and eloquent as in Antigone: a clash of values and cultures so fundamental that tragedy issues: a tragedy for each individual, each tribe" (Michael Schmidt, Daily Telegraph)

Wilde's "trivial play for serious people" is a sparkling comedy of manners. This hilariously absurd satire pits sincerity against style, barbed witticisms against ostentatious elegance. Wilde's brilliantly constructed plot and famous dialogue enrich the appeal of his celebrated characters, as he turns accepted ideas inside out and situations upside down in this, his masterpiece. The Student Edition offers a plot summary, full commentary, character notes and questions for study, besides a chronology and bibliography.

This is the third and final volume of plays representing the only modern edition of Fielding's dramatic works. Most have not appeared in print for a century, and never previously in fully-edited form. Fielding is best known as a novelist but, like his great model Cervantes, he came to novel-writing from an important first career in professional theatre. He wrote twenty-eight plays, including comedies, satiric extravaganzas, and ballad operas. He was the leading playwright of his generation, an experimentalist and entrepreneur of dramatic form who sometimes also brought contemporary politics and public figures onto his stage with results even more dramatic off stage.
This volume presents nine plays from the final and most controversial years of his theatre career. The first, Don Quixote in England, is a ballad opera homage to Quixotic idealism played out against rustic English opportunism. Two other plays, including the long-running favourite The VirginUnmask'd, were written as star vehicles for Fielding's brilliant colleague Catherine Clive. The Universal Gallant is another of Fielding's ventures in serious social comedy, but the heart of the volume, as of this concluding period of Fielding's dramatic career, is the group of audacious satirical plays he wrote when he was running his own makeshift company at the Little Haymarket Theatre, including Pasquin and The Historical Register. Audiences flocked to these productions to see the cultural and political life of the moment ridiculed in Aristophanic explicitness, notoriously in one case (Eurydice Hiss'd) including a mocking stage caricature of the prime minister himself. That unamused minister, Sir Robert Walpole, shortly after saw through the 1737 Licensing Act which put an end to unsanctioned playhouses and plays, and to Fielding's own career in theatre.
The plays are given in critical unmodernized texts based on careful collation of the original editions, with explanatory notes and commentary on sources, stage history, and critical reception. All music is included, with appendices giving complete accounts of textual variation and bibliographic history for each play.

Based on the conviction that only translators who write poetry themselves can properly re-create the celebrated and timeless tragedies of Aeschylus, Sophocles, and Euripides, the Greek Tragedy in New Translations series offers new translations that go beyond the literal meaning of the Greek in order to evoke the poetry of the originals.
This volume collects Euipides' Alcestis (translated by William Arrowsmith), a subtle drama about Alcestis and her husband Admetos, which is the oldest surviving work by the dramatist; Medea (Michael Collier and Georgia Machemer), a moving vengeance story and an excellent example of the prominence and complexity that Euripides gave to female characters; Helen (Peter Burian), a genre breaking play based on the myth of Helen in Egypt; and Cyclops (Heather McHugh and David Konstan), a highly lyrical drama based on a celebrated episode from the Odyssey. This volume retains the informative introductions and explanatory notes of the original editions and adds a single combined glossary and Greek line numbers.

An unhappy game of romantic follow-the-leader explodes into murder one weekend at The Hollow, home of Sir Henry and Lucy Angkatell. Dr. Cristow is at the center of the trouble when his mistress Henrietta, ex-mistress Veronica, and wife Gerda, simultaneously arrive at The Hollow. Also visiting are Edward (who is in love with Henrietta) and Midge (who loves Edward). Veronica ardently desires to marry Cristow and succeeds in reopening their affair but is unable to get him to divorce his wife. Veronica unwisely states that if she cannot have him, no one shall. Within five minutes Cristow is dead. Nearly everyone has a motive and most had the opportunity. Enter Inspector Colquhoun and Sergeant Penny to solve the crime.

Softcops renders the philosophy of Foucault as a music-hall turn and Victorian freakshow "theatre and history combine to give such intelligent fun" (TLS); Top Girls brings five great and less-than-great women from history together for a dinner party and "has a combination of directness and complexity which keeps you both emotionally and intellectually alert" (Sunday Times); Fen scrutinises the lives of the low-paid women potato pickers of the fens (in Eastern England) and "the playwright pins down her poetic subject matter in dialogue of impressive vigour and economy" (Financial Times) while Serious Money is a satirical study of the effects of the Big Bang - "Pure genius...the first play about the city to capture the authentic atmosphere of the place." (Daily Telegraph)

This volume includes The Seagull, a about the battle for power between a mother and her son which ends in tragedy; Uncle Vanya tells of two obsessive love affairs that lead nowhere, and a flirtation that brings disaster; Three Sisters in which three siblings wrestle with their futures and The Cherry Orchard where the old must inevitably give way to the new. Haunting and elusive, these four great late masterpieces have found in Michael Frayn a translator who perfectly captures their delicate balance of the tragic and the absurd. The volume also contains four of Chekhov's early short 'vaudevilles' as well as a substantial introduction by Michael Frayn. "The critical clamour for a Complete Chekhov in Michael Frayn's translation has borne fruit" (Sunday Times)

A scholarly edition of plays by Ben Jonson. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

This fun and interactive Reader s Theater book will help students build fluency while learning all about Colorado. The engaging script covers Colorado s continental divide, important landmarks such as Pikes Peak, examples of civic responsibilities in action, and much more. Make learning about Colorado s history, economy, government, and geography exciting with this book.The book includes a glossary, song and poem, and color-coded script. Go on an adventurous camping trip in the Rocky Mountains with this fun Reader s Theater book.

Beautiful Thing explores pre-teenage homo-erotic sensuality and the frictions and intimacies of living cheek by jowl on a Thamesmead housing estate.

Is God Is is a modern myth about twin sisters who sojourn from the Dirty South to the California desert to exact righteous revenge. Winner of the 2016 Relentless Award, Aleshea Harris collides the ancient, the modern, the tragic, the Spaghetti Western, and Afropunk in this darkly funny and unapologetic world premiere.

Aristophanes' Wasps was produced in Athens in 422 BCE. Like other Aristophanic comedies, it is a satire on Athenian society and democratic institutions, in this case focusing on the legal system and its supposed manipulation for personal ends by corrupt democratic leaders. This critical edition of the play includes the full Greek text, detailed commentary notes, and an extensive introduction. It represents a thorough re-evaluation of the play, providing a wealth of insights and advances in our understanding of the work and related topics since the last full scholarly commentary by Douglas M. MacDowell in 1971. The text depends on a complete, independent collation of the manuscripts and contains numerous new choices of readings and emendations. The introduction guides readers around fundamental information; not just on Aristophanes' life, but on poetic and political interpretations of the play, matters of staging, and the manuscript tradition. The extensive commentary aims to equip readers of all levels with the information they will need to appreciate the play in its original performance context, and to evaluate it as both an historical document and an artistic creation. This new critical edition will be a starting point for all further research on Wasps, and will serve readers and scholars for decades to come.

A scholarly edition of plays and poems by Philip Massinger. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

A scholarly edition of plays and poems by Philip Massinger. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

Mourning Becomes Electra is a play written by the American playwright Eugene O'Neill. It premiered on Broadway in 1931 and ran for 150 performances. The story is an updated Greek tragedy and features murder, adultery, incestuous love and revenge. O'Neill's characters have motivations that are influenced by the psychological theories of the 1930s. Hence, it can be understood from a Freudian perspective, with characters displaying Oedipus and Electra complexes. Mourning Becomes Electra is divided into three plays entitled Homecoming, The Hunted, and The Haunted, with themes corresponding to The Oresteia trilogy by Aeschylus. These plays are normally shown together and, as they each have four or five acts, it is extraordinarily lengthy, often being cut down when produced.

A scholarly edition of plays and poems by Philip Massinger. The edition presents an authoritative text, together with an introduction, commentary notes, and scholarly apparatus.

Hedda is an intelligent and ambitious woman, trapped in the stifling environment of a bourgeois 19th-century marriage. When writer Eilert Loevborg, an old flame returns to Hedda's life with a masterpiece that might threaten her husband's career, Hedda decides to take drastic and fatal action. Universally condemned in 1890 when it was written, Hedda Gabler has since become one of Ibsen's most frequently performed plays. Its title role is elusive and complex: Hedda is an intelligent and ambitious woman, who has no means of finding personal fulfilment in the stifling world of late nineteenth-century bourgeois society. Too frightened of scandal to become involved with a brilliant, wayward writer, she opts for a conventional but loveless marriage in the hope of finding surrogate satisfaction through her husband's career. Blending comedy and tragedy disconcertingly together, Ibsen probes the thwarted aspirations and hidden anxieties of his characters against a background of contemporary social conditions and attitudes.