A gripping psycholgical thriller, DEAD RECKONING sees a renowned artist finding himself caught up in a maze of chilling mind games and deceit. When the mysterious Mr Todd arrives at painter Tony Reed's house, Tony is forced to face the past that still haunts him and make a decision that he has only ever fantasised about. This decision leads Reed and his second wife Megan into a terrifying nightmare from which there seems no escape. Who exactly is Mr Todd? Just how far is Tony Reed prepared to go? And who really did kill his adored first wife . . . ?Cast 3 male 1 female; Length Full; Set Interior; Licence World in English

Nominated for the 2022 Olivier Award for Outstanding Achievement in Affiliate Theatre You see we are prisoners of a corrupt country that is our own making. But don't pretend you don't participate. You do. Of course you do. American banker Nick Bright knows that his freedom comes at a price. Confined to a cell in rural Pakistan, every second counts. Who will decide his fate? His captors, or the whims of the market? Ayad Akhtar is a Pulitzer Prize-winner, two-time Tony Award-nominee and winner of the Award in Literature from the American Academy of Arts and Letters. This newly revised edition of The Invisible Hand is published to coincide with the first major revival at London's Kiln Theatre in July 2021.

Die see is 'n liriese toneelstuk waarin aanvaarding, ontnugtering en hoop stem kry in drie slawevroue wat in die tyd van die VOC as courtisanes vir die bevelvoerder van Die Kasteel opgelei is. Terwyl die kanonvuur op die agtergrond 'n nuwe bestel aankondig, word die gehoor as't ware saam met die drie vroue in 'n kerker opgesluit. Die donker omstandighede van die hede word telkens gekontrasteer met die sonnige verlede. Met Die see het Reza de Wet haar kwarteeu in die Suid-Afrikaanse teaterwereld gevier.

'His drama is a piece of expert dramatic construction. Mr. Miller has woven his characters into a tangle of plot that springs naturally out of the circumstances of life today.' NEW YORK TIMES Three years on from the disappearance of his son, successful businessman Joe Keller has made a comfortable life for his family in America's Midwest: despite being accused of supplying defective aircraft equipment in World War 2, he is altogether happy. But, when a shadowy figure from Joe's past returns, his hidden truths are revealed, and the price of the American Dream is laid bare. Miller's first successful play on Broadway, All My Sons launched his career and established him as one of America's greatest dramatists, also winning him the 1946 Tony Award for Best Author. An incisive indictment of greed, capitalism and self-interest, All My Sons is remembered as one of the playwright's greatest works. This Methuen Drama Student Edition is edited by Clare Gleitman, with commentary and notes that explore the play's production history (including excerpts from an interview with director Jeremy Herrin) as well as the dramatic, thematic and academic debates that surround it.

Toe was hulle jonk, dronk en rebels. Nou is hulle voorstedelik en ontnugter. Die dood van hulle universiteitsvriend Johnny bly egter nog 'n raaisel – iets wat al vier steeds na al die jare teister. Dit is 'n vernuftig opgeboude stuk waarin die onstuimige laat-tagtigerjare in Suid-Afrika oortuigend uitgebeeld word. Dit was die tyd toe die Afrikaanse jeug polities bewus geraak en toe die grensoorlog 'n verwoestende uitwerking op duisende jong dienspligtiges gehad het. Met sprankelende dialoog en treffende tonele konfronteer Malan Steyn ons in hierdie drama met 'n nog steeds lewende verlede.

"Well we've got three floors right. Plenty of room... Room for a children's bedroom. Room for two." London, the present day. A woman is driven to the unthinkable by her desperate desire to have a child. Written and directed by Simon Stone, this radical new version of Lorca's tragedy of yearning and loss won universal critical acclaim when it premiered at the Young Vic in July 2016. Yerma triumphed at the 2017 Olivier Awards, with the production winning Best Revival, and Piper winning Best Actress. She also won the Evening Standard Natasha Richardson Award for Best Actress. Maureen Beattie, Brendan Cowell, John MacMillan and Charlotte Randle received unanimous praise for their performances.

The Heinemann Plays series offers contemporary drama and classic plays in classroom editions. Many have large casts and an equal mix of boy and girl parts. This play depicts the conflict between a fading Southern belle and the brash lower-class society of her sister's family.

Peter Handke's work is amongst the most strikingly original of all post-war European writing (Times Educational Supplement) Offending the Audience is "a dissection of our expectations about what ought to happen in the theatre." Self-Accusation is "a cunning and ironic attack on bureaucratic moral guilt" (Observer); Kaspar is based on the true story of Kaspar Hauser, a sixteen year old boy who appeared from nowhere in Nuremberg in 1828 and who had to be taught to speak from scratch. Handke's play is a downright attack on the way language is used by a corrupt society to depersonalise the individual; My Foot My Tutor is a mime for two actors - "Handke has here written an hour-long play without words that may at first look like a piece of audience-provocation but that finishes up as sheer theatrical poetry" (Guardian). In The Ride across Lake Constance, a group of characters (known only by the names of the actors who perform the parts) talk and play games together and skate over the thin ice that separates them from unspoken danger. "Intensely theatrical...an author for whom playwriting seems akin to tightrope walking" (The Times). They Are Dying Out puts the pillars of the bourgeoisie under the microscope to reveal an alien race, suffocated by rationality, unable to cope with untamed subjective impulses and shows an "uncanny knack for making the familiar seem strange" (Plays and Players).

Siener in die suburbs gaan oor die lief en leed van 'n groepie mense wat al volkskarakters geword het. Jakes wat so graag 'n laaitie wil he, Tiemie wat oor haar tyd is, Tjokkie wat met die helm gebore is, Giel en Ma wat in sonde saamleef. Hulle bly aan die verkeerde kant van die spoor; mense van wie daar "nie geweet" word nie.

The Wizarding World journey continues . . .

The powerful Dark wizard Gellert Grindelwald was captured in New York with the help of Newt Scamander. But, making good on his threat, Grindelwald escapes custody and sets about gathering followers, most of whom are unsuspecting of his true agenda: to raise pure-blood wizards up to rule over all non-magical beings.

In an effort to thwart Grindelwald's plans, Albus Dumbledore enlists Newt, his former Hogwarts student, who agrees to help once again, unaware of the dangers that lie ahead. Lines are drawn as love and loyalty are tested, even among the truest friends and family, in an increasingly divided wizarding world.

Fantastic Beasts: The Crimes of Grindelwald is the second screenplay in a five-film series to be written by J.K. Rowling, author of the internationally bestselling Harry Potter books. Set in 1927, a few months after the events of Fantastic Beasts and Where To Find Them, and moving from New York to London, Paris and even back to Hogwarts, this story of mystery and magic reveals an extraordinary new chapter in the wizarding world. Illustrated with stunning line art from MinaLima with some surprising nods to the Harry Potter stories that will delight fans of both the books and films.

A sequel collection of winning monologues in the style and format of 101 Monologues for Middle School Actors by the same author. Rebecca Young knows how middle schoolers think and act and what they like to talk about These monologues, duologues, and triologues may be used for auditions, class assignments, or discussion starters. With such a wide variety of topics, there is a monologue to fit any student's personality or preference. These characters speak as teenagers live. Easy to stage.

A collection of the world's best monologues for women actors featuring well-known playwrights and emerging new writers.

An electrifying one-woman play inspired by the true story of a woman who served as a political assassin during South Africa’s transition to democracy. As the protagonist confronts her past, she becomes a powerful symbol of defiance and compassion in a story of resistance and survival in a conflict-torn country.

Isidlamlilo/ The Fire Eater is an electrifying one-woman play inspired by the true story of a woman who served as a political assassin in the build-up to South Africa’s first democratic elections. Zenzile Maseko, the protagonist, is a 60-year-old Zulu grandmother living in a women’s hostel in Durban. Falsely declared dead by the Department of Home Affairs, she finds herself cast into a Kafkaesque nightmare that forces her to confront her past.

Flown in on the wings of the Impundulu (the lightning bird), Zenzile’s story weaves a magical and terrifying tapestry. She draws on myth, religious symbolism and traditional beliefs as she shares the realities – at times brutal, at times forgiving – of survival in South Africa. Her story touches on what it means to live through political violence, the transition to democracy, the brutality of inequality, health epidemics like HIV/AIDS, patriarchy, and the apathetic bureaucracy of government departments.

Ultimately, Isidlamlilo / The Fire Eater offers a critical and unflinching look at the eddying cycles of violence and revenge that play out across generations. Yet it is most of all a story about regeneration and redemption that speaks to both the country’s haunted past and its present-day complexities.

Isidlamlilo / The Fire Eater will appeal to teachers, high school learners, and tertiary students in theatre, drama and English studies.

'Nothing happens, nobody comes, nobody goes, it's awful.' This line, from the play, was adopted by Jean Anouilh, to characterize the first production of "Waiting For Godot" at the Theatre de Babylone, in 1953. He went on to predict that the play would, in time, represent the most important premiere to be staged in Paris for forty years. Nobody acquainted with Beckett's masterly black comedy would now question this prescient recognition of a classic of twentieth-century literature.