Described as 'America's greatest living playwright' (Wall Street Journal), Kenneth Lonergan is internationally acclaimed for his trademark humour and his genius for capturing the real heart and soul of human interactions. This volume gathers together three of his landmark plays. This Is Our Youth (1996) is a wildly funny, bittersweet and lacerating look at three days in the lives of three affluent young Manhattanites in the 1980s. Its West End premiere in 2002 was notable for its successive casts of young Hollywood stars, including Casey Affleck, Matt Damon, Jake Gyllenhaal, Anna Paquin and Summer Phoenix. 'A rambunctious and witty play... caustic, cruel, compassionate' The New York Times. The Waverly Gallery (1999) is a poignant, generous and frequently hilarious play about a feisty grandmother's last battle against Alzheimer's disease. More than a memory play, it captures the humour and strength of a family in the face of crisis. It was a finalist for the 2001 Pulitzer Prize for Drama, and revived on Broadway in 2018 to widespread acclaim. 'Both one of the most beautiful things you'll ever see in a Broadway theatre and one of the most profoundly sad' Chicago Tribune. Lobby Hero (2001) tells the story of a luckless young security guard trying to get his life together after being thrown out of the navy. But working in a lobby proves to be no sanctuary from the world, as he is unwittingly drawn into a murder investigation. The play received its British premiere at the Donmar Warehouse, London, in 2002, and was also revived on Broadway in 2018. 'Artfully intertwines private and public issues... [Lonergan] has the lightest of touches and writes with deft humour' Guardian. This collection, published alongside the UK premiere of Lonergan's The Starry Messenger in 2019, also features an exclusive introduction by the author.

More than 30 years on, the older Nathan speaks at a parole board hearing, recalling the crime and the dynamics of his friendship with Richard, defined largely by their shared intelligence, their passion for Nietzschean philosophy, and their desire for the ultimate thrill. With simple staging requirements, Stephen Dolginoff's tense, two-character musical drama explores the unusual love story behind the "crime of the century". "There is no production currently running in the capital that is more intelligent, atmospheric and haunting than this." Sunday Telegraph "Thrill Me is thrilling indeed." Evening Standard "Sharp and witty, full of strong songs and clever twists." Whatsonstage.com The cast M2. Voices The scene Various simple settings Period 1920s and 1950s Piano score and vocal book on hire

A lamppost. Night. Two friends are passing time. Stuck. Waiting for change. Inspired by Waiting for Godot and the Exodus, Antoinette Nwandu fuses poetry, humour and humanity in a rare and politically charged new play which exposes the experiences of young men in a world that refuses to see them. Pass Over by Antoinette Nwandu received its UK premiere at the Kiln Theatre, London, in February 2020.

Hierdie drama handel oor tien tieners in ’n bos by ’n oorlewingskamp waar spoke, hormone, groepsdruk en goggas die senuwees behoorlik laat knyp. KAMP KOERSHOU is nie vir sissies nie. Want grootword is nie “lekker” nie. Grootword is pyn. En “verwonding".

Die tien jeugdiges vertrek op 'n oorlewingskamp, in 'n bos, onder toesig van 'n paramilitaire instrukteur. Dit is hulle rite of passage sodat hulle weerbaar ‒ paraat! ‒ die grens na volwassenheid kan oorsteek. Maar hoe hou jy koers as jy nie weet waarheen jy wil gaan nie?

Die toneelstuk is in 2012 by die KKNK opgevoer met regie deur Marthinus Basson en Stian Bam in die hoofrol.

"There was a wild kid living in Burgess Woods. He had no famly and he had no pals and he didn't know where he come from and he couldn't talk. His wepons wer old kitchen nives and forks and an ax. He was savage. He was truly wild." Blue Bake's at home with his mum and his little sister, Jess. He's writing a story. Not all that stuff about wizards and happy ever after - a real story about blood and guts and trouble, because that's what life's really like. At least it is for Blue, since his Dad died, and Hopper the bully started knocking him about. But Blue's story takes on a life of its own, weird and dangerous and wild. The savage that he creates on the page and in his dreams comes to life in the real world, and seems set on bringing chaos and revenge. Can Blue keep his creation under control? Can the savage even bring Blue and his family a kind of peace? David Almond's own adaptation of his acclaimed graphic novel created with Dave McKean and published in translation around the world.

This monograph examines three aesthetic emotions in AElfric's Lives of Saints. Drawing on recent research on emotional communities, this research combines methods from Cognitive Sciences and other studies on early Medieval English language and literature in order to explore AElfric's usage of the terms in the lexical domain of amazement. The main aim of this study is to identify preferred modes of expression that would reveal a series of emotional rules in the context of AElfric's emotional community. Looking into AElfric's usage of this lexical domain and how he depicts emotion dynamics in these texts, this monograph shows how the emotion family of amazement is central to the hagiographical genre, and it highlights important emotion-regulation scripts that operate in these texts.

Sephy and Callum sit together on a beach. They are in love. It is forbidden. Sephy is a Cross and Callum is a Nought. Between Noughts and Crosses there are racial and social divides. A segregated society teeters on a volatile knife-edge. As violence breaks out, Sephy and Callum draw closer, but this is a romance that will lead them into terrible danger. This gripping Romeo and Juliet story by acclaimed writer Malorie Blackman is a captivating drama of love, revolution and what it means to grow up in a divided world. Sabrina Mahfouz's stage adaptation first toured the UK in 2019 and won the Excellence in Touring category at the UK Theatre Awards. It was commissioned and presented by Pilot Theatre in co-production with Derby Theatre, Belgrade Theatre Coventry, Mercury Theatre Colchester and York Theatre Royal.