Australia 1789. A young married lieutenant is directing rehearsals of the first play ever to be staged in that country. With only two copies of the text, a cast of convicts, and one leading lady who may be about to be hanged, conditions are hardly ideal... Winner of the Laurence Olivier Play of the Year Award in 1988, and many other major awards, Our Country's Good premiered at the Royal Court Theatre, London, in 1988 and opened on Broadway in 1991. 'Rarely has the redemptive, transcendental power of theatre been argued with such eloquence and passion.' Georgina Brown, Independent It is published here in a new Student Edition, alongside commentary and notes by Sophie Bush. The commentary includes a chronology of the play and the playwright's life and work as well as discussion of the social, political, cultural and economic context in which the play was originally conceived and created.

He suddenly looks different, less bent, less old, less broken, what a strange man. Is there some magic here? Is he a wizard? Old man . . . No that's not right. Telemachus' father left long ago to fight a war. Telemachus doesn't remember him. Now the man of the house, he must step up to defend his father's legacy and protect his mother from the suitors that lounge around the court. Meanwhile, the great Odysseus has been trapped by the goddess Kalypso for ten long years. Lost in his memories of past glories, he longs to return home. This timeless Greek myth has been reinvented by playwright Timberlake Wertenbaker to create a modern, rich and powerful new work about a son searching for his father and a father searching for himself that is, at the same time, an exploration of masculinity and the effects of war. My Father, Odysseus received its world premiere at the Unicorn Theatre, London, on 13 March 2016. It is ideal for young people over the age of 11.

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Jean Racine's classic play Britannicus is a chilling study of the emergence of a monster, as Emperor Nero begins to take Rome in his grip. Timberlake Wertenbaker's translation premiered at Wilton's Music Hall, London, in October 2011. 'Anexcellent new translation.' Guardian 'Timberlake Wertenbaker's beautifully distilled adaptation . . . Exhilarating theatre.' Time Out (Critic's Choice) 'An astute, gripping evening.' Sunday Telegraph 'At once a thriller, a study of jealousy, and a treatise on power and its responsibilities.' Independent on Sunday 'Powerful.' What's on Stage 'Gripping.' The Stage

A collection of Timberlake Wertenbaker plays which spans her work from 1984 to 1992, including Our Country's Good, which won the Laurence Olivier Play of the Year Award in 1988.

Eight short plays, commissioned and developed as part of the Women Centre Stage Festival, that together demonstrate the range, depth and richness of women's writing for the stage. Selected by Sue Parrish, Artistic Director of Sphinx Theatre, these plays offer a wide variety of rewarding roles for women, and are perfect for schools, youth groups and theatre companies to perform. How to Not Sink by Georgia Christou looks at duty, love and dependency across three generations of women. In Wilderness by April De Angelis, a patient and her psychiatrist head into the wilderness to find out how sane any of us really are. In Chloe Todd Fordham's The Nightclub, three very different women at a gay nightclub in Orlando are caught up in a terrifying hate crime. Fucking Feminists by Rose Lewenstein is a fiercely funny investigation of what feminism means, and what it has become. Winsome Pinnock's Tituba is a one-woman show about Tituba Indian, the enslaved woman who played a central role in the seventeenth-century Salem Witch Trials. In The Road to Huntsville by Stephanie Ridings, a writer researching women who fall in love with men on death row finds herself crossing the line. White Lead by Jessica Sian explores the expectations and responsibilities of being an artist and a woman. In What is the Custom of Your Grief? by Timberlake Wertenbaker, an English schoolgirl whose brother has been killed on active duty in Afghanistan is befriended online by an Afghan girl. Sphinx Theatre has been at the vanguard of promoting, advocating and inspiring women in the arts through productions, conferences and research for more than forty years.

Australia 1789. A young married lieutenant is directing rehearsals of the first play ever to be staged in that country. With only two copies of the text, a cast of convicts, and one leading lady who may be about to be hanged, conditions are hardly ideal. . . "Wertenbaker has searched history and found in it a humanistic lesson for hard modern times: rough, sombre, undogmatic and warm" (Sunday Times); "Highly theatrical, often funny and at times dark and disturbing, it sets an infant civilization on the stage with clarity, economy and insight" (Charles Spencer, Daily Telegraph)

When an invitation to The Ball arrives at the Ash girl's house, from Prince Amir, she can't bring herself to believe that she, like her sisters, can go. With her mother dead and her father away, she must learn to fight the monsters that have slithered and insinuated their way into her heart and mind. In this wondrous drama Timberlake Wertenbaker explores the beauty and terror inherent in growing up. The Ash Girl premiered at Birmingham Rep in 2001.

A volume of four new plays as part of the RSC's Midsummer Mischief by Alice Birch, E. V. Crowe, Timberlake Wertenbaker and Abi Zakarian. The writers had the famous quote by Laurel Thatcher Ulrich, "Well-behaved women seldom make history" as an initial provocation and each writer has responded to this line in a unique and distinctive way. Contents: The Ant and the Cicada by Timberlake Wertenbaker A mysterious investor has set his sights on a prime piece of Greek real estate. Owned by two sisters whose lives and beliefs are at odds, and with debts rising all the time, the property's future is uncertain. In a Greek tragedy, everybody loses. Through the struggle between two very different sisters for control of their family home, Timberlake Wertenbaker's new play explores why we are willing to let the home of art and democracy crumble as the rest of Europe looks on. Revolt. She said. Revolt again. by Alice Birch You are expected to behave... Use the right words Act appropriately Don't break the rules Just behave This play is not well behaved Alice Birch examines the language, behaviour and forces that shape women in the 21st century and asks what's stopping us from doing something truly radical to change them. Winner of the George Devine Award for Most Promising New Playwright 2014 I can hear you by E.V. Crowe Tommy is dead. It's always tragic when they die young. People have posted loads of nice stuff on his Facebook page. His sister Ruth has returned for the funeral and wants to get it just right. Proper cutlery and a good spread. The send-off he deserved, and certainly better than they managed when mum died. The following Sunday Ruth's plans to leave again are interrupted as the doorbell rings and in walks a still very much dead, Tommy. E.V. Crowe's naturalistic supernatural play examines what the possibilities are for the women in Tommy's family, and questions if it's as easy for everyone to reveal what it is they want. This is not an exit by Abi Zakarian You wake up, tied to a radiator. Your hands are bound and there is a bag over your head. You know you should fight, but you don't know how or against whom. But you can't have it all: where would you put it? Abi Zakarian's new play is a funny and ferocious drama about the absurdity at the heart of modern womanhood, and what really stands in the way of fulfilment.

Four new short plays inspired by the 800th anniversary of the Magna Carta by internationally renowned playwrights Howard Brenton, Anders Lustgarten, Timberlake Wertenbaker and Sally Woodcock. RANSOMED by Howard Brenton In the sleepy Cathedral City of Melchester, a crime has been committed. The Cathedral's prize possession, a copy of the original Magna Carta, has been stolen in a daring heist. Who is responsible and what price will the British Government be prepared to pay for the document's safe return? As the plot thickens, Detective Inspector Ellie Baxter seeks to find the truth in this brilliant new Magna Carta comedy. KINGMAKERS by Anders Lustgarten Ten years after the signing of Magna Carta, the barons' takeover isn't quite going to plan. With the peasants grumbling about enormous castles and broken promises, the threat of rebellion hangs in the air. Perhaps the solution is to distract and deflect by bringing the confused and humbled king back into the fold? What about a royal wedding? A royal baby? All at the common man's expense, of course... A fictional story from the 13th century that may just be about now. WE SELL RIGHT by Timberlake Wertenbaker In 1215, when the King of England abuses his extraordinary power, the barons' take action. In 2015, when the kings of global business and finance abuse their extraordinary power, who will take action and what will confrontation look like? In the decades that follow, what will remain of the values we hold most dear? A gripping drama about the consequences of confronting power on a global scale. PINK GIN by Sally Woodcock In 21st century Africa, a visionary President stands on the cusp of greatness. With international investors poised to develop large tracks of land, the financial future looks bright. But why has it been raining for 97 days, and who is leading the angry mob in the streets outside? A compelling contemporary allegory throwing light on the oft overlooked companion to Magna Carta, The Charter of the Forest.