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One of Coward's best-loved classics in a single-play edition Coward's wit and precision as a modern dramatist is nowhere better exemplified than in this classic modern plays from 1930. Elyot Chase and Amanda Prynne (originally played by Gertrude Lawrence and Noel Coward), recently divorced from one another five years previously, arrive coincidentally at the same French hotel. They are honeymooning with their respective new spouses. Encountering one another by chance, each is at once horrified and fascinated by the other. Together they leave for Paris and begin a roundelay of quarrels and love intrigues that culminate in their getting back together.
Commissioned by the BBC, and described by Dylan Thomas as 'a play for voices', UNDER MILK WOOD takes the form of an emotive and hilarious account of a spring day in the fictional Welsh seaside village of Llareggub. We learn of the inhabitants' dreams and desires, their loves and regrets. The play introduces us to characters such as Captain Cat who dreams of his drowned former seafellows and Nogood Boyo who dreams of nothing at all. It is a unique and touching depiction of a village that has 'fallen head over bells in love'. The First Voice narration reveals the ordinary world of daily happenings and events, while the Second Voice conveys the intimate, innermost thoughts of the fascinating folk of Llareggub. There have been myriad productions of UNDER MILK WOOD over the years and Richard Burton, Peter O'Toole, Elizabeth Taylor, Sir Anthony Hopkins and Tom Jones have all starred in radio, stage or film adaptations. Dylan Thomas's classic radio play reprinted to celebrate the centenary of his birth. A true masterpiece that has never been out of print.
During the turmoil of the Russian Revolution in 1917, Maria Chekhov, Anton's sister, placed many of her late brother's manuscripts and papers in a safety deposit box in Moscow. In 1921 Soviet scholars opened the box, and discovered a play. The title page was missing. The play they found has too many characters, too many themes, too much action. All in all, it's generally dismissed as unstageable. Like life. A new play by Dead Centre, creators of the OBIE / Fringe First winning LIPPY.
Sebastian is that kid at high school. He's weird. He smells. He's obsessed with comics, and talks to himself. But after a catastrophic fallout with his only friend, Claryssa, he wakes up with a moth in a jar by his bed, and a calling to save the souls of all humanity. And so begins the Passion of Sebastian: a journey into a terrifying and starless night. By turns dark and shimmering, Moth is a firework of a play. Channelling Donnie Darko and Disco Pigs, it is a fast, funny and heartbreaking story about two young people with nowhere to go. From one of Australia's foremost emerging playwrights.
Alan Bennett is the author of Writing Home, The Madness of George III, Talking Heads, The Clothes They Stood Up In and much else besides. Miss Shepherd lived in a Robin Reliant opposite Bennett's house in Camden Town. After a series of attacks on her van, he suggested she move, with her van, to his front drive. Initially reluctant, she agreed - and Bennett landed himself a tenancy that went on for fifteen years. The Lady in the Van is probably Alan Bennett's best-known work of non-fiction, and follows his other little blockbuster The Clothes They Stood Up In.
In January, one week before the President's inauguration a fierce fight erupted in the Senate between Republicans and Democrats over the confirmation of the key figures for President Trump's cabinet. These four powerful men lead the Trump administration's policy on Russia, the Middle East, Iran and North Korea, on human rights worldwide, on the Paris Climate control agreement, as well as on the civil rights and the health of millions of Americans. They are: Rex Tillerson, the former CEO of Exxon/Mobil, nominee for Secretary of State responsible for America's foreign policy; Jeff Sessions, a leading campaigner for the President and now his chief law officer; Dr Tom Price, a strident critic of Obamacare and nominee for Health Secretary; and Scott Pruitt, a climate change sceptic nominated as Director of the Environmental Protection Agency. In front of four separate Senate committees the nominees were subjected to tough and relentless cross-examination. They were questioned forensically about their ethics, beliefs and political philosophies. Each of them had to fend off accusations ranging from corruption to deceit or racism. These gripping and dramatic verbatim Senate sessions probed their fitness for office, and give us a vital insight into the future policies and direction of a Trump Presidency.
Young Willie Beech is evacuated to the country as Britain stands on the brink of WW2. A sad, deprived child, he slowly begins to flourish under the care of old Tom Oakley - but his new-found happiness is shattered by a summons from his mum back in London.
A motor-mouthed collage of spoken word and storytelling. Tales of paranoia, young love and ultra-violence - from the desk of Christopher Brett Bailey comes a spiralling odyssey of pitch-black humour and nightmarish prose. THIS IS HOW WE DIE is a prime slice of surrealist trash, an Americana death trip and a dizzying exorcism for a world convinced it is dying -
Tony Kushner's epic two part drama is revived at the National Theatre in 2017.The cast includes Andrew Garfield playing Prior Walter, Denise Gough playing Harper Pitt, Nathan Lane playing Roy Cohn, James McArdle playing Louis Ironson and Rusell Tovey playing Joe Pitt.
A collection of contemporary Canadian plays. Includes Gwen Pharis Ringwood's "Still Stands the House," Trey Anthony's "'da Kink in my hair," Tara Beagan's "Miss Julie: Sheh'mah," Madeleine Blais-Dahlem's "La Maculees Tain," Hillar Liitoja's "The Last Supper," selections from the Impromptu Splendour series, Theatre Replacement's "BIOBOXES," and Zuppa Theatre's "Penny Dreadful."
The Lonesome West was first presented as a Druid Theatre company and Royal Court co-production in the summer of 1997. 'The play combines manic energy and physical violence in a way that is both hilarious and viscerally exciting' Daily Telegraph Valene and Coleman, two brothers living alone in their father's house after his recent death, find it impossible to exist without massive and violent disputes over the most mundane and innocent of topics. Only father Welsh, the local young priest, is prepared to try to reconcile the two before their petty squabblings spiral into vicious and bloody carnage.
Tonight When I make my sweeping bow at heaven's gate, One thing I
shall still possess, at any rate, Unscathed, something outlasting
mortal flesh, And that is ... My panache.'
One of the most influential and popular works in all literature, Ovid's "Metamorphoses" is a weaving-together of classical myths, extending in time from the creation of the world to the death of Julius Caesar. This volume provides the Latin text of the first five books of the poem and the most detailed commentary available in English for these books.
In his introduction to the volume, editor William S. Anderson provides essential background information, discussing Ovid's life, the reception of the Metamorphoses during Ovid's day and after, and the poem's central issues. The Latin text of the five books is Anderson's own edition, based on years of study of the surviving manuscripts. In the extensive notes that follow the text, Anderson offers both useful summaries of the stories and detailed line-by-line comments.
Unlike other epic poems, which concern wars and heroism, the Metamorphoses centers on ordinary human beings, women as well as men, who live in a world of continuous change. The first five books, which include such well-known stories as Apollo and Daphane, Diana and Actaeon, and Narcissus and Echo, deal especially with the relationship between human beings and the gods. Arrogant and lustful, but all-powerful, the gods of Ovid's universe selfishly pursue their own pleasures, frequently at the expense of their human targets. Yet these gods escape unscathed, while the humans, unjustly, are punished. Helpless to defend themselves, they are changed into animal or nonhuman forms.
A resource for students and scholars of Latin, this volume enhances understanding and enjoyment of Ovid's changeable poem about our changeable existence.
It is the 1950s and this charming comedy introduces the Nightingales, members of a theatrical family who perform more at home than they do on the stage. Jack is a cabaret star, as in love with his piano as he is with his silk dressing gowns. His parents, Charlie and Beatrice, are old Music Hall stars, full of hilarious tales of life on the road. Maggie performs with Jack in the evenings and regularly visits his house to rehearse, drink tea, and tell the sorry tale of her latest romantic disaster. If only she and Jack realized that their true love was right in front of them. The sudden arrival of Charlie and Beatrice, asking to stay with Jack for a few days, throws his and Maggie's lives into chaos. They promise to be gone by Christmas, but this provides little comfort given that it is only January 7th! Jack's housekeeper Geraldine copes masterfully with the ensuing disruption, but then Beatrice unexpectedly disappears. It seems that this was not a simple visit, but an opportunity for her to leave Charlie and run off to another liaison in France. The question is, will anyone find their true love? Are there such things as happy endings? And what do performers do once the spotlight goes out? This is a very funny, touching showbusiness comedy, bursting with one-liners and lovable characters.
An unexpected meeting at an airport leads to an intense, passionate, head-over-heels relationship. Before long they begin to settle down, buy a house, juggle careers, have kids - theirs is an ordinary family. But then their world starts to unravel and things take a disturbing turn. A tragic, violent look at parenthood and trauma.
Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeshylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides' "Medea", "The Children of Heracles", "Andromache", and "Iphigenia among the Tourians", fragments of lost plays by Aeschylus, and the surviving portion of Sophocles' satyr-drama "The Trackers". New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.
"Front Lines" is a pathbreaking collection of the most important, critically acclaimed plays written by the country's leading contemporary female playwrights. Including seven full scripts and accompanying materials, "Front Lines" provides both major examples of the playwright's craft and an essential introduction to the politically inspired work of female dramatists of the twenty-first century.
Here is Jessica Blank's widely heralded "The Exonerated" (written with Erik Jensen), based on interviews with American prisoners incarcerated for crimes they did not commit. Also included is Nilaja Sun's outstanding "No Child . . .," winner of the Outer Critics Circle's 2007 John Gassner Award for Best New Play--a funny, stirring one-woman show centering on an inner-city teacher's success at involving her rebellious students in their own education by putting on a play. Rounding out the collection are Emily Mann's "Mrs. Packard"; Paula Vogel's "Hot 'n' Throbbing"; Shirley Lauro's "Clarence Darrow's Last Trial"; Quiara Alegria Hudes's "Eliot: A Soldier's Fugue"; and Cindy Cooper's "Words of Choice," co-adapted with Suzanne Bennett.
With a preface by distinguished playwright Shirley Lauro and an
introduction by theater critic Alexis Greene, "Front Lines" also
includes short biographies of the playwrights and a production
photo of each play.
Alan Ayckbourn introduces this second collection of work containing some of his wonderfully inventive children's plays, which are a treat to read and a joy to perform.
Three sisters. Three thousand miles from home. Overworked Olga, wild Masha and idealistic Irina dream of returning. Living in a world of deceit, desire and hard drinking, it's difficult but is there something else holding them back? Reworked for the 21st century by award-winning writer Anya Reiss, this searing new version of Chekhov's most haunting masterpiece reunites the team behind 2012';s critically acclaimed, sell-out hit, The Seagull
The first collection of plays from Kneehigh's Carl Grose. Includes the plays Grand Guignol, Superstition Mountain, Horse Piss for Blood, 49 Donkeys Hanged, and The Kneebone Cadillac.
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