'They're always trying to do that. Make us run off in different directions to try to catch a single hare. Because they know. If we work together we might bring down the stag.' By day, machine operator Prab struggles to survive the precarity and brutality of his factory job in West Bengal. By night, he writes stories for his baby daughter Amba. When a popular actress recruits him to write a play for her, Prab seizes the opportunity to expose the injustice of factory conditions and the rumours of child exploitation. But in his fight for change, is he ready to risk his future, his family and even his own life? Winner of Theatre Uncut's Political Playwriting Award, Sonali Bhattacharyya's Chasing Hares is a tale of resistance and dignity in the face of global exploitation. It was premiered at the Young Vic Theatre, London, in July 2022, directed by Milli Bhatia.

'I have to write. That's what I am. My sister Meg is beautiful, my sister Beth is good, my sister Amy is, well, she is what she is, but I'm the writer of the family. What shall I do?' Christmas Eve, 1862. With their father away on the frontline of the American Civil War, the four March sisters - Meg, Jo, Beth and Amy - journey into adulthood, each determined to pursue a life on their own terms. But growing up means contending with love and loss, as well as the myriad twists of fortune that shape a life. Published in 1868, Louisa May Alcott's Little Women was an immediate critical and commercial success, and remains one of the best-loved novels of all time. This joyful and spirited adaptation was first produced at Pitlochry Festival Theatre and Watford Palace Theatre in 2022, directed by Brigid Larmour. An earlier version was staged at the Gate Theatre, Dublin, in 2011. It provides rich opportunities for any amateur company looking for an uplifting version of a classic story that's guaranteed to delight audiences.

'On the way over I saw three vipers copulating... I know what you're thinking... monogamy is under threat.' 1943. Four months into the Nazi occupation of Tunisia. You're imprisoned in a labour camp. You're buried up to your neck in earth. You're dying of thirst, you miss your wife, and your best friend just pissed on your face. How could things possibly get any worse? Josh Azouz's Once Upon A Time in Nazi Occupied Tunisia is a brutally comic play about home and identity, marriage and survival, blood and feathers. It was first produced at the Almeida Theatre, London, in August 2021, directed by Eleanor Rhode.

Cixous' work as a playwright - working mainly with Theatre du Soleil and their director Ariane Mnouchkine - establishes her as a participant in some of the most adventurous European theatre making of the last 40 years.
This collection brings together for the first time, four translations into English of Helene Cixous' plays. It is a unique and extraordinary resource for scholars, students and theatre-makers.
The collection includes: *The Perjured City, translated by Bernadette Fort
*Black Sail, White Sail, translated by Donald Watson
*Portrait of Dora, translated by Ann Liddle
*Drums on the Dam, translated by Judith G. Miller and Brian J. Mallet
This exciting new anthology will disseminate her work to a wide and receptive English-speaking audience.

'I think of my body sometimes like it's stubborn. We're not good friends. Like it's a spooky hotel, and I'm a ghost haunting it. 'Cause you don't live in a hotel, you just pass through.' When Daphne is diagnosed with Premature Ovarian Insufficiency at the age of nineteen, her sister Christine steps in to help in the only way she knows how: by donating her eggs. For a while, the world seems corrected. But as the years go by - and Daphne sets out on the long road of IVF - the sisters' relationship begins to twist. Pennyroyal is a heartrending new play by Lucy Roslyn about sisterhood and motherhood, enduring love, and regrets many years in the making. Inspired by Edith Wharton's 1922 novella The Old Maid, it was premiered at the Finborough Theatre, London, in 2022, directed by Josh Roche.

Arthur Miller's play A View from the Bridge is a tragic masterpiece of the inexorable unravelling of a man, set in a close-knit Italian-American community in 1950s New York. Eddie Carbone is a longshoreman and a straightforward man, with a strong sense of decency and of honour. For Eddie, it's a privilege to take in his wife's cousins, Marco and Rodolpho, straight off the boat from Italy. But, as his niece Catherine begins to fall for one of them, it's clear that it's not just, as Eddie claims, that he's too strange, too sissy, too careless for her, but that something bigger, deeper is wrong - and wrong inside Eddie, in a way he can't face. Something which threatens the happiness of their whole family. This Penguin Classics edition includes an introduction by the author and a new foreword by actor Philip Seymour Hoffman.

MULE. Who created us? ROCINANTE. What kind of dumb question is that? The great master Cervantes, of course. Who else? MULE. God. ROCINANTE. Listen you obstinate fool. We're animals. We don't have to believe in God. That's meant for the superior species. MULE. Why did Cervantes create us? ROCINANTE. Because he was a genius. I think he made me a bit like himself. But those who ride us were not so lucky. Tariq Ali's latest play, The New Adventures of Don Quixote, can be read as homage to German poet and playwright Bertolt Brecht as much as a playful tribute to Cervantes's masterwork. The central characters from the original novel, Don Quixote and Sancho Panza, are mounted on their beasts of burden, Rocinante and the Mule, and Ali has them ride into the twenty-first century, where they are confronted by old vices familiar to them: war, greed, ethnic and religious prejudices, disappointed love, and economic crisis. Their story is satirical, and their songs are sad and angry. But there are odd moments of happiness for Quixote, when he imagines that a wounded US colonel is Dulcinea and allows himself to be seduced by her in a military hospital in Germany. Primarily interested in discovering the meaning of life and how it is molded by the world in which we live, Ali's theatrical device is the conversation between the two animals - Rocinante the philosopher and Mule the everyman who questions her relentlessly. Accompanied by numerous color performance stills of the play from its 2013 production in Germany, this volume is as intellectually stimulating as it is uproariously humorous.

A Schools Edition of The Slab Boys by Scottish playwright John Byrne, a popular set text for SQA Higher English. A semi-autobiographical work, The Slab Boys is set in the slab room of A.F. Stobo & Co Carpet Manufacturers in Paisley and the action takes place on one day in 1957. It explores themes such as rebellion and conformity, social class and social mobility, youth, deception, and frustrated ambition and achievement. This edition includes: - An introduction by John Byrne, who was a 'slab boy' himself before becoming a playwright and artist - The full playscript - Notes, quotations and questions to improve students' understanding of the play and support study/revision - Tasks and activities that build the skills of analysis and evaluation that students must demonstrate in the exam - Assessment advice for the Critical Reading question paper This is the only single-volume version of The Slab Boys, taken from The Slab Boys Trilogy.

'I'm going to answer all your wishes, bubba! Big or small, it'll be me who makes them come true, no one else.' Leila is happy living at home with Noor, her loving but traditional grandmother. But when Aleena, her fiercely independent mother, returns home from prison determined to deliver a new world of fun and excitement, their calm lives are upended in a blur of nail varnish and sweet treats. Family secrets come tumbling into the light, and Leila finds the task of deciding on her future more difficult than she first thought. Ambreen Razia's play Favour is a touching and hopeful family drama about a working-class Muslim family, tackling duty, addiction and the challenge of pulling yourself back together after it all falls apart. It was a Bush Theatre and Clean Break co-production and premiered at the Bush, London, in 2022, directed by Roisin McBrinn and Sophie Dillon Moniram.

First modern edition of a highly provocative Scottish drama. Written at the very end of the seventeenth century, The Phanaticks (previously known as The Assembly) satirises in dramatic form contemporary political and religious affairs, presenting some well-known figures in thethinnest of disguises. Overtly a comedy about two young women opposed by such forces as the Governer of Edinburgh Castle (Lord Huffy), it is an excoriating attack on the hypocrisy and political chicanery of Scottish religious sects, alongside its romance and sexual innuendo. The author, Archibald Pitcairne, was a celebrated physician and wit; this work demonstrates his talent for controversy (he was ejected from the Royal College of Physicians of Edinburgh, an institution which he helped to found, after a dispute about his theoretical approaches to medicine). Indeed, so provocative was it deemed that despite being printed in 1722 and 1752, there is no record of any contemporary performance. This first modern edition is based on an early manuscript, with corrections possibly in Pitcairne's own hand; it is presented with full contextual and historical notes. John MacQueen is Emeritus Professor of English, University of Edinburgh.

Jim Becker and his unlicensed drivers take the people of Pittsburgh Hill District where regular taxi cabs won't - healing old wounds and tearing new ones as they pass the time in a condemned taxi rank between pick-ups. August Wilson's groundbreaking modern classic explores the fragile bond between eight men as they live, love and work in a racially segregated, post-Vietnam America. Jitney received its British premiere at the National Theatre, London, in 2001, when it won the Olivier Award for Best New Play. This new edition was published alongside the 2021-22 revival by The Old Vic, Headlong and Leeds Playhouse, directed by Tinuke Craig.

This collection of contemporary postcolonial plays demonstrates the extraordinary vitality of a body of work that is currently influencing the shape of contemporary world theatre.
This anthology encompasses both internationally admired 'classics' and previously unpublished texts, all dealing with imperialism and its aftermath. It includes work from Canada, the Carribean, South and West Africa, Southeast Asia, India, New Zealand and Australia. A general introduction outlines major themes in postcolonial plays. Introductions to individual plays include information on authors as well as overviews of cultural contexts, major ideas and performance history.
Dramaturgical techniques in the plays draw on Western theatre as well as local performance traditions and include agit-prop dialogue, musical routines, storytelling, ritual incantation, epic narration, dance, multimedia presentation and puppetry. The plays dramatize diverse issues, such as:
*globalization
* political corruption
* race and class relations
*slavery
*gender and sexuality
*media representation
*nationalism

Elesin Oba, the King's Horseman, has a single destiny. When the King dies, he must commit ritual suicide and lead his King's favorite horse and dog through the passage to the world of the ancestors. A British colonial officer, Pilkings, intervenes.

"The action of the play is as inevitable and eloquent as in Antigone: a clash of values and cultures so fundamental that tragedy (ensues): a tragedy for each individual, each tribe."-Daily Telegraph

"This play, by the winner of aNobel Prize for Literature, asks: "On the authority of what gods" the white aliens rupture a world. It puts exciting political theatre back on the agenda ... a masterpiece of 20th century drama."-Guardian

Methuen Student Editions are expertly annotated texts of a wide range of plays from the modern and classic repertoires. As well as the complete text of the play itself, the volume contains a chronology of the playwright's life and work; an introduction giving the background to the play; a discussion of the various interpretations; an interview with Wole Soyinka; and notes on individual words and phrases in the text.

'Take care. The consequences of an act are often much more numerous and important than people have any idea of.' Today W.S. Gilbert is best known for the comic operas he produced in collaboration with Arthur Sullivan, a creative partnership that diverged over the supernatural. Unlike Sullivan, Gilbert was a great fan of fairy tales, and Foggerty's Fairy, one of his most unjustly neglected plays, is a brilliant farcical comedy that hinges on the wish-granting of a fairy. Loosely based on his short story 'The Story of a Twelfth Cake', Foggerty's Fairy considers the dangers of playing with the past. Trying to shore up his relationship, a man enlists a fairy's help to make a few tweaks in his past - he soon realises, however, these small changes have made great waves through time, and his present becomes unbearable.

In this lively and varied tribute to Martin Banham, Layiwola has assembled critical commentaries and two plays which focus primarily on Nigerian theatre - both traditional and contemporary.
Dele Layiwola, Dapo Adelugba and Sonny Oti trace the beginnings of the School of Drama in 1960, at the University of Ibadan, Nigeria, where Martin Banham played a key and influential role in the growth of thriving Nigerian theatre repetoire and simulaneously encouraging the creation of a new theatre based on traditional Nigerian theatre forms.
This comparative approach is taken up in Dele Layiwola's study of ritual and drama in the context of various traditions worldwide, while Oyin Ogunba presents a lucid picture of the complex use of theatre space in Yoruba ritual dramadar
drama.
Harsh everyday realitites, both physical and political, are graphically demonstrated by Robert McClaren (Zimbabwe) and Oga Steve Abah (Nigeria) who both show surprising and alarming links between extreme actual experiences and theatre creation and performance.
The texts of the two plays - When Criminals Turn Judges by Ola Rotimi, The Hand that Feeds the King by Wale Ogunyemi, are followed by Austin O. Asagba's study of oral tradition and text in plays by Osofisan and Agbeyegbe, and Frances Harding's study on power, language, and imagery in Wole Soyinka's plays.

This anthology consists of ten plays from countries involved in World War I, including plays from Germany and France never before available in translation. The playwrights reconstruct imagined communities, challenge concepts of national identity, and rewrite history. Representing a range of dramatic forms, from radio play to street-epic, from comic sketch to musical, this anthology includes plays from: Muriel Box; Marion Wentworth Craig; Dorothy Hewitt; Berta Lask; Marie Leneru; Wendy Lill; Alice Dunbar Nelson; Christina Reid; and Gertrude Stein. Highly successful in their day, these plays demonstrate how women have attempted to use theatre to achieve social change. The collection explores the historical development of theatrical conventions and genres and the historical context of social and gender issues.

It's good to meet up with old friends ... or perhaps not When Nigel arranges a reunion in the back room of a pub, he is optimistic of a good turnout. Whilst the numbers disappoint him, he soon has his hands full when a motley middle-aged threesome turn up, bringing with them assorted wives, girlfriends, prejudices, and resentments that have simmered for the last twenty-five years. As the evening unfolds, the men are forced to reassess their old alliances and reflect on their lives, as the women are increasingly struck by the futility of the whole exercise Comedy and confusion combine in this hilarious but poignant story of 'small people' in a 'big world'.

In the second volume of his "Mask: A Release of Acting Resources" David Griffiths provides a detailed and sensitive view of the Japanese Noh theatre: historically, philosophically (with an evaluation of Zeami's treatises) and in respect of the rigorous practicalities of Noh training. The latter is given particular authority and insight because of the access Griffiths had to Noh actors in training and performance. Greatly enhanced by the author's illustrations, this volume gives one of the most accessible introductions to Noh that is available in English. Appended to the descriptive and analytic material is a short play, "The Dove," written by Griffiths (and subsequently professionally performed) described as 'unashamedly' acknowledging its Noh influence. This one woman piece is a sensitive and evocative drama with subtle references to its cultural source. Its potential as an exercise in mask work is excellent.

In the third volume of his "Mask: A Release of Acting Resources" David Griffiths concentrates his attention on Commedia dell'arte. Acknowledging the amount of information already available in this area, the author provides a brief but extremely lively historical/critical commentary. Despite existing on what seem to be "diametrically opposite sides of the theatrical spectrum," Griffiths points to the fascinating common factors between the genres of the Japanese Noh theatre and Commedia dell'arte. He proposes six similarities: characters familiar to their audience who appear masked, minimal properties and scenery with the focus on the actor; the "families" of performers, a sharp mind as well as an agile body, a professional living on his skills and patronage; and a knowledgeable audience. "Please Be Gentle," the witty and rumbustious play that completes this book, explores the various tricks and devices of Commedia dell'arte acting within a form and a fram

In pointing to the way in which women have been historically represented (or left out altogether) and the reality of women's lives, feminist performance makes the histories, lives and desires of women visible, as this volume of plays from the 1990s aims to illustrate. Historical focus is shared by all three plays in this volume, as is the stylistic challenge which they offer to the "malestream" version of history. In "Walking on Peas", Erika Bloch takes the "hidden", unknown historical lives of women who cross-dressed and joined the army as its subject. Foursight Theatre has made looking at history through "the eyes of women such as Eva Braun, Pope Joan, Mae West and Ulrike Meinhof" a key focus of their work. Their group devised a one-act play on Mary Tudor and Queen Elizabeth I, "Bloody Mary and the Virgin Queen". Julie Wilkinson's "Mrs. Beeton's History of the World" fuses the "great" and the "ordinary" by representing Mrs Beeton in juxtaposition with the figure of her working-clas maid, Caroline.

"I'm walking down the street and there's a door in the fence open and inside there are three women I've seen before." Three old friends and a neighbour. A summer of afternoons in the back yard. Tea and catastrophe. Caryl Churchill's play Escaped Alone premiered at the Royal Court Theatre, London, in 2016, in a production directed by James Macdonald. It was named Best Play at the 2017 Writers' Guild Awards.

Country House, a ''comedy with corpses, '' is a wicked subversion of all those realistic psychological dramas of jealousy, adultery, murder and suicide that ask to be taken seriously. Witkacy's send-up assumes the form of a ghost story full of surprises, in the course of which an entire family of four is gleefully dispatched to the other world. When it was first performed in 1923 in Torun, Country House was judged unsuitable for the general public because it derided moral, social and dramatic convention. Three years later, as directed by the playwright himself in Lw?w, the drama proved an unexpected success with audiences (although it only ran for four nights) and ever since has been among Witkacy's most frequently performed works.
Today we can appreciate Country House not only as a systematic demolition of stage realism, but also as an anxious probing of the elusive boundaries between life and death, exposing the ''dark places'' of the human psyche that make us laugh nervously.

"Mr McDonagh is destined to be one of the theatrical luminaries of the 21st century" (The New Republic) In 1934, the people of Inishman learn that the Hollywood director Robert Flaherty is coming to the neighbouring island to film his documentary Man of Aran. No-one is more excited than Cripple Billy, an unloved boy whose chief occupation has been gazing at cows and yearning for a girl who wants no part of him. For Billy is determined to cross the sea and audition for the Yank. And as news of his audacity ripples thorugh his rumour-starved community, The Cripple of Inishmaan becomes a merciless portrayal of a world so comically cramped and mean-spirited that hope is an affront to its order. With this bleak yet uproariously funny play, the young Anglo-Irish dramatist Martin McDonagh fulfills the promise of his award-winning The Beauty Queen of Leenane while confirming his place in a tradition that extends from Synge to O'Casey and Brendan Behan.

An innovative one-woman show exploring what it means to be human in an era of ecological disaster.