What is home? The answer seems obvious. But Telling Our Stories of Home, an international collection of eleven plays by and about women from Lebanon, Haiti, Venezuela, Uganda, Palestine, Brazil, India, UK, and the US, complicates the answer. The "answer" includes stories as far-ranging as: enslaved women trying to create a home, one by any means necessary, and one in the ocean; siblings wrestling with their differing devotion to home after their mother's death; a family wrestling with the government's refusal to allow the burial of their soldier-son in their hometown; a young scholar attempting to feel at home after studying abroad; a young man fleeing home due to his sexual orientation only to discover the difficulty of creating home elsewhere, and Siddis (Indians of African descent) continuing to struggle for acceptance despite having lived in India for over 600 years. These are voices seldom represented to a larger audience. The plays and performance pieces range from 20 to 90-minute pieces and include a mix of monologue, duologue, and ensemble plays. Short yet powerful, they allow fantastic performance opportunities particularly in an age of social-distancing with flexible casts that together invite the theme of home to be performed and studied on the page. The plays include: The House by Arze Khodr (Lebanon), Happy by Kia Corthron (US), The Blue of the Island by Evelyne Trouillot (Haiti), Nine Lives by Zodwa Nyoni (UK), Leaving, but Can't Let Go by Lupe Gehrenbeck (Venezuela), Questions of Home by Doreen Baingana (Uganda), On the Last Day of Spring by Fidaa Zidan (Palestine) Letting Go and Moving On by Louella Dizon San Juan (US), Antimemories of an Interrupted Trip by Aldri Anunciacao (Brazil), So Goes We by Jacqueline E. Lawton (US), and Those Who Live Here, Those Who Live There by Geeta P. Siddi and Girija P. Siddi (India)

'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.

In south side Chicago, Walter Lee, a black chauffeur, dreams of a better life, and hopes to use his father's life insurance money to open a liquor store. His mother, who rejects the liquor business, uses some of the money to secure a proper house for the family. Mr Lindner, a representative of the all-white neighbourhood, tries to buy them out. Walter sinks the rest of the money into his business scheme, only to have it stolen by one of his partners. In despair Walter contacts Lindner, and almost begs to buy them out, but with the help of his wife, Walter finally finds a way to assert his dignity. Deeply committed to the black struggle for equality and human rights, Lorraine Hansberry's brilliant career as a writer was cut short by her death when she was only 35. A Raisin in the Sun was the first play written by a black woman to be produced on Broadway and won the New York Drama Critics Circle Award. Hansberry was the youngest and the first black writer to receive this award.

The Penguin Classics debut that inspired a classic film and a current Broadway revival
Reginald Rose's landmark American drama was a critically acclaimed teleplay, and went on to become a cinematic masterpiece in 1957 starring Henry Fonda, for which Rose wrote the adaptation. A blistering character study and an examination of the American melting pot and the judicial system that keeps it in check, "Twelve Angry Men" holds at its core a deeply patriotic belief in the U.S. legal system. The story's focal point, known only as Juror Eight, is at first the sole holdout in an 11-1 guilty vote. Eight sets his sights not on proving the other jurors wrong but rather on getting them to look at the situation in a clear-eyed way not affected by their personal biases. Rose deliberately and carefully peels away the layers of artifice from the men and allows a fuller picture of America, at its best and worst, to form.

"Oh if we can just quiet the world for a moment. And listen within. There's a voice guiding you. I promise it's there. And until you can hear it, I'll be it for you." The men are all fighting, again. An endless war. From nowhere, an unexpected leader emerges. Young, poor and about to spark a revolution. Rebelling against the world's expectations, questioning the gender binary, Joan finds their power within, and their belief spreads like fire. I, Joan is a powerful and joyous new play which tells Joan of Arc's story anew. It's alive and queer and full of hope.