An electrifying wild ride of a debut novel from award-winning playwright Anders Lustgarten

Meet Cherry, a bandit queen on the run, driving a pink soft-top convertible through the badlands of South-East England. She's never felt more Thelma & Louise in her life - except there are three of them in the car and one of them is dead.

How did a head nurse and mother of two end up driving a handcuffed policeman and the corpse of a murdered refugee on a journey to find justice? Pursued by a racist, roid-raged, shaven-headed officer of the law - not to mention by her husband and daughter - what else can a woman with a conscience do in modern Britain?

Thrilling, radical and darkly comedic, Anders Lustgarten's open-hearted storm of a book explores pressing political concerns with clear-sightedness and holds a mirror up to contemporary Britain.

An electrifying wild ride of a debut novel from award-winning playwright Anders Lustgarten

Meet Cherry, a bandit queen on the run, driving a pink soft-top convertible through the badlands of South-East England. She's never felt more Thelma & Louise in her life - except there are three of them in the car and one of them is dead.

How did a head nurse and mother of two end up driving a handcuffed policeman and the corpse of a murdered refugee on a journey to find justice? Pursued by a racist, roid-raged, shaven-headed officer of the law - not to mention by her husband and daughter - what else can a woman with a conscience do in modern Britain?

Thrilling, radical and darkly comedic, Anders Lustgarten's open-hearted storm of a book explores pressing political concerns with clear-sightedness and holds a mirror up to contemporary Britain.

'It's not enough that men are watched; they must think themselves watched, even when they are not' Spymaster Sir Francis Walsingham oversees a vast surveillance network from the heart of Elizabeth I's court. As the nation's relationship with Europe deteriorates and civil unrest grows, Walsingham adopts ever more extreme tactics to keep his queen and country safe. But does he risk losing control of the apparatus he has created and destroying the lives of those closest to him? And can such safety ever be achieved? The Secret Theatre asks what we are prepared to sacrifice in order to ensure our safety. Shot through with moments of the blackest humour, this smart, tense thriller has been published to coincide with the world premiere at the Sam Wanamker Playhouse in November 2017 directed by Matthew Dunster.

HighTide Theatre Festival was founded in 2006 and has since become one of the most prolific homes of new writing. It has been described by the Telegraph as "one of the little gems of the artistic calendar in Britain" and by the Daily Mail as "famous for championing emerging playwrights and contemporary theatre". 2016 marks ten years of HighTide, during which time numerous emerging playwrights and new plays have shot to prominence. This anniversary volume brings together four of the key plays that have come out of HighTide Theatre Festival's programme during this time: Ditch by Beth Steel is a clear-eyed look at how we might behave when the conveniences of our civilisation are taken away, and a frightening vision of a future that could all too easily be ours. peddling by Harry Melling is a poetic monologue about a young homeless man, which confronts whether it's a good thing to turn a blind eye and let people get on with their lives, or whether that's exactly how people fall through the cracks. The Big Meal by American writer Dan LeFranc is a deeply comic and touching drama that looks at love, marriage, raising children and the general onslaught of life. Lampedusa by Anders Lustgarten follows the day-to-day life of those whose job it is to enforce our harsh new rules on immigration: an Italian coastguard and a payday lender from Leeds. All now established in their own right, these four plays demonstrate HighTide's extraordinary role in identifying and nurturing writers tackling some of the biggest issues of today. The volume was published to coincide with HighTide's 10th annual festival in September 2016 and features an introduction by HighTide Artistic Director, Steven Atkinson.

"I believe that open markets and free enterprise are the best imaginable force for improving human wealth and happiness. And I would go further: where they work properly, they can actually promote morality." David Cameron, January 2012 Anders Lustgarten's play is an exploration of our current government's politics of austerity and a look at possible alternatives. If You Don't Let Us Dream, We Won't Let You Sleep was supported by the Harold Pinter Playwright's Award which is given annually by Pinter's widow Lady Antonia Fraser.

The first play collection from Anders Lustgarten, "perhaps Britain's most visible and visibly engaged political playwright" (Time Out London), containing plays from the start of his career up to 2015 with the most recent play in the collection, Shrapnel, and one previously unpublished play. The volume includes an introduction by the playwright. A Day at the Racists (2010, Finborough Theatre) is a devastatingly timely examination of the rise of the BNP in London, which attempts to understand why people might be drawn to the BNP and diagnoses the deeper cause of that attraction: the political abandonment and betrayal of the working class by New Labour. If You Don't Let Us Dream, We Won't Let You Sleep (Royal Court Theatre, 2013) offers an exploration of our current government's politics of austerity and a look at possible alternatives. Black Jesus (Finborough Theatre, 2013) unpicks the political complexities of Zimbabwe through the devastating personal journeys of two very different people, both scarred by one of Africa's most notorious dictatorships. Shrapnel (Arcola Theatre, 2015) takes as its subject The Roboski massacre is one of the most controversial episodes in the 'war on terror'. Piecing together the fragments of the tragedy, Anders Lustgarten's startling new play dares to ask what a massacre is made of. Kingmakers (Salisbury Playhouse, 2015) imagines ten years after the signing of Magna Carta when 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. This play has not previously been published. The Insurgents (Finborough Theatre, 2007) is Anders Lustgarten's look at contemporary London and its class divide. Private equity has turned the city into a high-fenced playground for a tax-exempt, big business elite. This play has not previously been published.

The first play collection from Anders Lustgarten, "perhaps Britain's most visible and visibly engaged political playwright" (Time Out London), containing plays from the start of his career up to 2015 with the most recent play in the collection, Shrapnel, and one previously unpublished play. The volume includes an introduction by the playwright. A Day at the Racists (2010, Finborough Theatre) is a devastatingly timely examination of the rise of the BNP in London, which attempts to understand why people might be drawn to the BNP and diagnoses the deeper cause of that attraction: the political abandonment and betrayal of the working class by New Labour. If You Don't Let Us Dream, We Won't Let You Sleep (Royal Court Theatre, 2013) offers an exploration of our current government's politics of austerity and a look at possible alternatives. Black Jesus (Finborough Theatre, 2013) unpicks the political complexities of Zimbabwe through the devastating personal journeys of two very different people, both scarred by one of Africa's most notorious dictatorships. Shrapnel (Arcola Theatre, 2015) takes as its subject The Roboski massacre is one of the most controversial episodes in the 'war on terror'. Piecing together the fragments of the tragedy, Anders Lustgarten's startling new play dares to ask what a massacre is made of. Kingmakers (Salisbury Playhouse, 2015) imagines ten years after the signing of Magna Carta when 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. This play has not previously been published. The Insurgents (Finborough Theatre, 2007) is Anders Lustgarten's look at contemporary London and its class divide. Private equity has turned the city into a high-fenced playground for a tax-exempt, big business elite. This play has not previously been published.

This is where the world began. This was Caesar's highway. Hannibal's road to glory. These were the trading routes of the Phoenicians and the Carthaginians, the Ottomans and the Byzantines . . . We all come from the sea and back to the sea we will go. The Mediterranean gave birth to the world. Step into the shoes of those whose job it is to enforce our harsh new rules: an Italian coastguard and a payday lender from Leeds. How do they do it? And what happens to them? Lampedusa is a powerful play about immigration and welfare. This edition was published to coincide with the premiere at the Soho Theatre, London, on 8 April 2015, as part of the Soho Theatre's season of Politics.

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.

There is no such thing as a happy colonised people. Never has been and never will be. That is our basic delusion. December 2011. Watching video footage from a drone, Pentagon officials see a huddle of people - unarmed smugglers, with mules - treading their familiar path across the Turkish-Iraqi border. Hours later, Turkish Armed Forces drop bombs on the group. 34 civilians are killed. The Roboski massacre is one of the most controversial episodes in the 'war on terror'. Piecing together the fragments of the tragedy, Anders Lustgarten's startling new play dares to ask what a massacre is made of. Shrapnel is a story of malicious commands and mournful commemorations; an urgent, powerful insight into the state of modern warfare. This edition was published to coincide with the UK premiere at the Arcola Theatre, London, on 11 March 2015.

Edited and introduced by leading cultural and theatre critic Aleks Sierz, this bold and urgent collection of contemporary plays by England's newest and most relevant young writers explores the various cultures and identities of a nation that is at once traditional, nationalistic and multicultural. Eden's Empire, by James Graham is an uncompromising political thriller exploring the events of the Suez Crisis, and the tragic story of its flawed hero – Churchill's golden boy and heir apparent, Anthony Eden. Alaska, by D. C. Moore features Frank, an ordinary bloke who likes smoking, history and playing House of the Dead 3. He can put up with his job on a cinema kiosk until a new supervisor arrives who is younger than him. And Asian. A Day at the Racists, by Anders Lustgarten is a timely examination of the rise of the BNP which attempts to understand why people might be drawn to the BNP and diagnoses the deeper cause of that attraction. Shades, by Alia Bano shows Sabrina, a single girl-about-town, who is seeking Mr Right in a world where traditional and liberal values sit side-by-side, but rarely see eye-to-eye. The Westbridge, by Rachel De-lahay begins with the accusation of a black teenager which sparks riots on South London streets. Among it all, a couple from very different backgrounds navigate the minefield between them and their disparate but coexisting neighbourhood.

A Day at the Racists is a stunning new piece of political theatre from award-winning playwright Anders Lustgarten: a devastatingly timely examination of the rise of the BNP in London, published to coincide with the world premiere at the Finborough Theatre, March 2010. Set in the same constituency that BNP leader Nick Griffin is to stand for in the forthcoming General Election, A Day at the Racists is a uniquely brave and perceptive piece of political theatre. It both attempts to understand why people might be drawn to the BNP and diagnoses the deeper cause of that attraction: the political abandonment and betrayal of the working class by New Labour. The plot is as follows: Pete Case used to be something - a leading Labour Party organiser in the local car factories. Now he struggles to get by as a decorator as immigrant workers undercut his best mate's firm, his son Mark can't get a job or onto the housing list and nobody, from his Labour MP to his granddaughter's teacher, seems to care. Then Pete finds unexpected hope: Gina is young, mixed race and standing for Parliament on a platform of helping the local community. She is standing for the British National Party. As Pete's rage and despair gradually overcome his longstanding loathing of the BNP, he is drawn into the world of Gina's campaign and finds himself entangled in a nightmare of political machinations that pit his closest relationships - son, best mate, lover - against his longest-held beliefs and newfound aims.

When Don Revie took over this club, Leeds were a rugby league town. No interest in football. Gates under 10,000. We'd never won a thing. He built one of the great clubs of English football, one of the great teams of English football, from scratch on barren ground from nothing more than spirit and fight and nous, which are the exact same qualities you used at Derby. And out of jealousy, you never tried to understand that. Never tried to make the most of that. Sad. 1974. Brian Clough, the enfant terrible of British football, tries to redeem his managerial career and reputation by winning the European Cup with his new team, Leeds United. The team he has openly despised for years, the team he hates and that hates him. Don Revie's Leeds. A West Yorkshire Playhouse and Red Ladder Theatre Company co-production, adapted from David Peace's ingenious and much-lauded novel, which was subsequently made into a film starring Michael Sheen, The Damned United takes you inside the tortured mind of a genius slamming up against his limits, and brings to life the beauty and brutality of football, the working man's ballet. Anders Lustgarten's stage adaptation of David Peace's novel received its world premiere at the West Yorkshire Playhouse on 3 March 2016.

You have to be tough to be kind. That's what I've learned from you, Granddad. Tough and fearless and strong. So that's what I'm going to be. Naples, 1606. Inside an unfinished church, a painting is emerging from the darkness. The Seven Acts of Mercy is Caravaggio's masterpiece - and his first painting since he killed a man and fled Rome. As the artist works, he is fueled by anger, self-loathing and his driving need to create a work that speaks of compassion in a violent world. Bootle, the present day. A retired dock worker teaches his grandson, as around them a community is disintegrating under the pressure of years of economic and political degradation. With all he has left, a book of great works of art, he tries to open the boy's eyes to the tragedy and beauty of the life he faces. And the boy reciprocates in the only way he knows. Playing out across a gap of 400 years, Anders Lustgarten's visceral play confronts the dangerous necessity of compassion, in a world where it is in short supply. The Seven Acts of Mercy received its world premiere at the Swan Theatre, RSC, on 24 November 2016.

Drawing together the work of 10 leading playwrights, this National Theatre Connections anthology features work by some of the most exciting and established contemporary playwrights. Gathered together in one volume, the plays collected offer young performers between the ages of 13 and 19 an engaging selection of material to perform, read or study. Each play has been specifically commissioned by the National Theatre's literary department with the young performer in mind. The anthology contains 10 play scripts; notes from the writer and director of each play, addressing the themes and ideas behind the play; and production notes and exercises for the drama groups. This year's anniversary anthology includes plays by Suhayla El-Bushra, Anders Lustgarten, Robin French, Tim Etchells, Patrick Marber, Kellie Smith, Lizzie Nunnery, Harriet Braun and Alistair McDowall.

Our China is now the worst of all worlds. Communist politics controlled by greedy capitalists, raw capitalist economics controlled by corrupt Communists. Because they're all the same people! At least under me, the people knew what they were tightening their belts for. Anders Lustgarten's epic play covers the years 1949 when Chairman Mao founded the Communist Party of China to the present day when investors swoop in to make money off the land. Following a number of characters and generations through these years, it portrays the foundation of modern China. The Sugar-Coated Bullets of the Bourgeoisie, from award-winning playwright Anders Lustgarten, received its world premiere on at the Arcola Theatre, London, on 6 April 2016, in a co-production between the Arcola Theatre and HighTide Festival.

And do you know why I was called by that name? Because I decided who would be saved and who would be condemned. I took that responsibility for others and now I take it for myself. I am Black Jesus. I do not crawl. Zimbabwe. 2015. The Mugabe Government has fallen and investigations into its abuses have begun. Eunice Ncube, working for the new Truth and Justice Commission, begins the interviewing of Gabriel Chibamu, one of the most infamous perpetrators of the horrors of the Mugabe regime. As Gabriel's trial and inevitable prosecution approach, Eunice begins to sift through the past - only to find that right and wrong, and guilt and innocence, are far less clear than she first thought . . . This stunning new play by Finborough Theatre Playwright-in-Residence, and one of the UK's leading political playwrights, Anders Lustgarten, is more urgent than ever. Black Jesus unpicks the political complexities of Zimbabwe through the devastating personal journeys of two very different people, both scarred by one of Africa's most notorious dictatorships.

This brilliant new collection of ten plays for young people will prove indispensable to schools, colleges and youth theatre groups. Specially commissioned by the National Theatre for the Connections Festival 2012 involving 200 schools and youth theatre groups across the UK and Ireland, each play is accompanied by production notes and exercises. Power struggles, rites of passage, love and forbidden relationships are some of the rich themes that run through the 2012 cycle of plays. Some are deeply funny, some are provocative and some reflective; and one has really catchy songs! For the 2012 Festival, the anthology has an international feel and offers a window on the world. It includes from Australia a play based on a nineteenth century court case in which a teenage girl was falsely convicted; from Brazil a drama about young lovers doomed to tragedy; set in Russia, a play exploring differing attitudes to National Service and the collapse of the Soviet Union in 1991; a drama about students' rights to an education and the Cultural Revolution of 1966 in China; and a comedy involving a group of Irish country girls travelling to London to audition for the X-Factor.