Five plays from around Australia which illustrate that the rich tradition of indigenous storytelling is flourishing in contemporary Australian theatre. Adapted from her award-winning novel, Vivienne Cleven's "Bitin' Back" is a 'zany and uproarious black farce'; "Black Medea", Wesley Enoch's richly poetic adaptation of Euripides Medea, blends the cultures of Ancient Greek and indigenous storytelling to weave a bold and breathtaking commentary on contemporary experience; The acclaimed "King Hit" by David Milroy and Geoffrey Narkle, strikes at the very heart of the Stolen Generations, exploring the impact on an individual and a culture when relationships are brutally broken; Set in the 1950s on the fringe of a country town, "Rainbow's End" by Jane Harrison creates a 'thought-provoking and emotionally powerful' (Age) snapshot of a Koori family to dramatise the struggle for decent housing, meaningful education, jobs and community acceptance; And David Milroy's "Windmill Baby" is set on an abandoned cattle station in the Kimberley landscape, combines the poetry of a campfire story with the comedy of a great yarn.

When wealthy property developer Michael Devine goes missing, his wife Anne and daughter Amy fear the worst. As the pieces of Michael's disappearance start falling into place, the picture reveals a scandalous secret. On the other side of town, Paula and Gary Anderson have an unwanted visitor. Regretting ever having let Ray Wimple creep into their lives, they're now stuck with his unwelcome and insistent attention. When these two very different worlds collide, one fateful event will transform the lives of both families forever.

Hansard; noun The official report of all parliamentary debates. Hansard is an intimate domestic drama about a long and troubled marriage. It is also a comedy about politics and identity and the failings of the ruling class. Set around the passing of the Section 28 legislation in 1988, which banned the "promotion" of homosexuality. It is funny, tender, brutal, and ultimately devastating. Hansard premiered at the National Theatre, London, in August 2019.

The spellbinding story of a family that spans two generations;It's 1946. Tomas is 17 years old, living in Franco's fascist Spain, on the Canary Islands, where they are still recovering from three years of a bloody civil war. Torn between his family and the desire for freedom, Tomas makes a decision that changes his life and those around him forever. Journey is based on the true story of a man named Tomas Castellano, and the secret he's kept from his family his entire life.It all begins on the night before Tomas and Marlene's 50th wedding anniversary, when their son Mike Castellano, discovers the secret. Because of the political circumstances, and economics, Tomas leaves his home, his family, everything he knows, and loves - in search for freedom, and a better life, which nearly cost him, his. Journey shows us vividly, the ache and the pain one goes through - and the courage one needs to leave behind their home, their family, everything they know and love to live a life of freedom.Without telling anyone, Tomas and his friend Antonio risk their lives to escape. The story follows the extraordinary adventure of two young men, their struggle for survival, and the suffering a family goes through not knowing whether their son is alive or dead.Journey is a story about freedom...Freedom, to live the life you dream of...Freedom, that happens when you to let go, And... Freedom, that comes from knowing who your father is and where you came from.

'My name is Phyllis Princess James. I will wear this crown every day. I will never take it off even when I am asleep.' Meet Princess. A cheeky ten-year-old, with a plan to win the Weston-super-Mare Beauty Contest. Trouble is, her mum is busy working several jobs, her brother, a budding photographer, won't even take her picture and then - The Hustler returns. In 1963 Bristol, as Black British Civil Rights campaigners walk onto the streets, Princess finds out what it really means to be black and beautiful. Chinonyerem Odimba's play Princess & The Hustler was first seen at the Bristol Old Vic in February 2019, followed by a UK tour, in a co-production between Eclipse Theatre Company, Bristol Old Vic and Hull Truck Theatre, directed by Dawn Walton. The play was shortlisted for the Alfred Fagon Best New Play Award 2018.

Patrick comes home unexpectedly from the seminary and older brother Johnny's not slow to tap him for money. Mum is suspicious, Dad seems indifferent, and pissed, and little sister Cath is distracted and medicated. Nobody Will Ever Forgive Us is the story of a family under siege. Living on their wits and stalked by violence, they defend themselves with the blackest of humour. The play was produced as part of the National Theatre of Scotland/Traverse Theatre's Debuts season and premiered at the Traverse Theatre, Edinburgh in November 2008. 'A keen sense of theatrical dynamics, vigorous dialogue and ready wit.' Guardian

Based on the conviction that only translators who write poetry themselves can best 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. The tragedies collected here were originally available as single volumes. This new collection retains the informative introductions and explanatory notes of the original editions, with Greek line numbers and a single combined glossary added for easy reference.
This volume collects for the first time three of Sophocles most moving tragedies, all set in mythical Thebes: Oedipus the King, perhaps the most powerful of all Greek tragedies; Oedipus at Colonus, a story that reveals the reversals and paradoxes that define moral life; and Antigone, a touchstone of thinking about human conflict and human tragedy, the role of the divine in human life, and the degree to which men and women are the creators of their own destiny.

Hate knows no bounds... It was a cold dark night, and Andre was eager to get home to his family. A 35-year old African-American, he is a successful businessman. Driving down a deserted road, he has to abruptly stop for what apparently is a body on the pavement. Getting out to help, he is suddenly surrounded by men in white hoods - and realizes he has fallen for a trap. Will he get out alive? In a world where hate driven crimes dominate headline news, A High Price for Justice is a compelling account of one man's fight to expose an evil conspiracy and unsolved murders involving some of Mississippi's high society.

The Peaceful brothers, Tommo and Charlie, have a tough rural childhood facing the death of their father, financial hardship and a cruel landlord. Their fierce loyalty to each other pulls them through, until one day they both fall for the same girl. And then the Great War comes. It tells the story of a country lad fighting a war he doesn't understand for people he cannot respect. We join 18-year-old Private Tommo Peaceful in the trenches as he tells us a story of courage, devotion and sibling rivalry on what may be his last night on earth. Private Peaceful was shortlisted for the Carnegie Medal, won the Red House Children's Book Award and the Blue Peter Book Award and is acknowledged by Michael Morpurgo (War Horse, The Butterfly Lion) to be his favourite work. This new, small ensemble version by Simon Reade was commissioned by Nottingham Playhouse.

THE ENGLISH FOLK-PLAY By E. K. CHAMBERS OXFORD AT THE CLARENDON PRESS 1933 ST. GEORGE AND THE DRAGON OXFORD UNIVERSIXY PRESS AMEN HOUSE, E. G. 4. London Edinburgh Glasgow-Leipzig New York Toronto Melbourne Capetown Bombay Calcutta Madras Shanghai HUMPHREY MILKORD PUBLISHER TO THE UNIVERSITY PRINTED TN GREAT BRITAIN AT THE UNIVERSITY PRESS, OXFORD BY JOHN JOHNSON, ANALYSIS THE MUMMERS PLAY AND ITS CONGENERS PAGE THE MUMMERS PLAY ..... 3 THE PRESENTATION . . . . .13 THE COMBATANTS . . . . .23 THE DISPUTE . . . . . - 33 THE LAMENT . . . . . .38 THE WESTON-SUB-EDGE PLAT . . .41 THE CURE . . . . . .50 JACK FINNEY ...... 57 MULTIPLIED COMBATS . . . 59 THE Quite . . . . . .63 THE MYLOR PLAY . . . . .71 COSTUME . . . . . .83 ABNORMAL MUMMERS PLAYS . . .87 THE PLOUGH PLAY . . . . .89 THE REVESBY PLAY . . . . .104 THE SWORD DANCE . . . . .123 THE AMPLEFORTH PLAY . . . .131 THE MORRIS DANCE . . . . .150 JACK OF LENT . . . . .153 MEDIEVAL PARALLELS . . . .160 vi ANALYSIS PAGE SAINT GEORGE 170 THE SEPEN CHAMPIONS . . . .174 THE STAGE AND THE FOLK . . . .185 THE RESIDUAL PROBLEM . . .192 THE PROBLEM OF ORIGIN PARALLELS FROM WESTERN EUROPE . . 197 PARALLELS FROM THE BALKANS . . .206 A PRIMITIVE LUDUS . . . . .211 THE SIGNIFICANCE OF THE LUDUS . .216 WOOING PLATS . . . . .229 1 52 OF TEXTS 236 INDEX 245 ILLUSTRATIONS 1. ST. GEORGE AND THE DRAGON. Drawing by THOMAS FISHER in J. G. Nichols, Ancient Paintings at Stratford upon-dvon 1838, from Fresco in the Chapel of the Gild of Holy Cross. frontispiece 2. A KIRMESS IN THE NETHERLANDS. Engraving in the British Museum from Painting by PIETER BRUEGHEL c. I53 6 9-facing p. 204 THE MUMMERS PLAY AND ITS CONGENERS The Mummers Play. years ago, I attempted, in TheMediaeval Stage, to give an account of the Mummers Play, as one of several ludi of the folk which involve an element of mimesis. Since then, much additional material has been collected on the play and its congeners, notably by the late Reginald Tiddy and Cecil Sharp, and by Professor C. R. Baskervill, Mr. Douglas Kennedy, and Mr. Stuart Piggott and fresh light has been thrown on the possible origin of such ludi by the discovery of close analogues still surviving in various parts of the Balkans. It seems, therefore, worth while to go over the ground again, and to bring together the threads of the old and the new evidence with regard to this singular and long-enduring seasonal ceremony. In 1903 I was able to make use of twenty-nine examples of the play. I can now draw upon well over a hundred, more or less complete, together with a few entangled in ludi of other types. Probably there are others, even in print, which have eluded my search, and there are references, in Tiddys valuable study and elsewhere, to performances at various places from which no texts, so far as I know, are upon record. But my hundred or so examples cover the greater part of the country, and extend to Wales, the Isle of Man, the eastern coast-line of Ireland, and the Lowlands of Scotland. From the more purely Celtic

Torianey Heckstall's personal philosophy says it all. "Feeling in the dark" is a metaphor for how she feels when she makes the most of the decisions in her life. Life is a random cascade of experiences and opportunities-or so she thought.

On a whim, she decides to upgrade a ight she's taking to rst class, never daring to imagine that this one seemingly random decision would change her life in ways she could only once dream of.

Sitting next to her is the man who will change her life.

QueShaune Guadau II is the owner of a billion-dollar oil corporation founded by his father. But even he knows that money can't buy him everything he craves-and he's too distracted to realize that the beautiful stranger next to him in rst class could change his life too.

Shaune and Tory made a deal with each other that will change both their lives forever. Tory was never a woman to go back on her own rules; even so, Shaune's relentlessness would soon make her question her unshakeable moral core. And he will do whatever it takes to convince her that he is the man for her.

Neither is able to abandon the sexy, irty, cat-and-mouse games, and this creates a problem for Shaune's best friend, Marcus Swain. Jealous and vindictive, Marcus controls a game of his own, in which the two become unwitting players. Soon, he engineers a tumultuous rift between them.

Now it's a race to see which game is the more powerful-seduction or sabotage.

Alone in the museum, in the dark, Marion unravels a ball of string so Michael can venture into a mystery. In recent weeks, strange stirrings have haunted the ancient relics and rumours of a monster abound. Michael finds his way back to her and to an impossible situation. Marion flees and finds herself the prim centre of an over-sexed septuagenarian art group at a seaside resort. Here, Marion is infuriated by Mark, a wayward sommelier with an eye for the ladies, determined to disrupt her lessons and her life. (2 male, 1 female).