Beatie returns for a holiday to her fenland farm home trying to impose on her stolid family the ideas of a young Jewish intellectual, Ronnie, whom she believes will marry her. But, awaiting his arrival, slowly Beatie realizes he will never come and her famous final speech exults that Ronnie has taught her independence and how to free herself from him.4 women, 5 men

This second volume of Wesker's Collected Plays contains his One-Woman Plays: "Wesker is that rarity, a playwright who writes good, gritty parts for women" (Time Out) Yardsdale and Whatever Happened to Betty Lemon?: 'From his earliest plays, Wesker has always delineated women with understanding and sympathy. Both these qualities are present here ...each character convinces one equally of the depth of her suffering and of the resilience of her spirit' Sunday Telegraph; The Mistress: 'Women as victims ...traditional Wesker themes ...wrapped up marvellously here and re-presented ...a fascinating evening in the theatre' Kaleidoscope, BBC Radio 4; Letter to a Daughter: 'Wesker breaks new ground ...a moving depiction of a doubt-ridden single mother ...a finely crafted piece of theatre' Jewish Chronicle; Annie Wobbler: 'All three different characters are shown with an intensity of personal involvement which is where Wesker flourishes best' Sunday Telegraph; Four Portraits - of Mothers with Yardsdale won the GBP10,000 Georges Bresson prize."Arnold Wesker - the unique outsider in the British theatre" Observer

The original version of Wesker's imaginiative reworking of Shakespeare's The Merchant of Venice. With notes and commentary by Glenda Leeming.

In The Wedding Feast an idealistic, altruistic shoe manufacturer arrives at an employee's wedding, with disastrous consequences. One More Ride on the Merry-Go-Round features a comic plot involving academics who get high on a hash birthday cake, a recalcitrant daughter, and the appearance of an illegitimate son who is a magician. In Groupie 61-year-old Mattie Beancourt is shocked to discover her idol, the famous painter Mark Gorman, living alone in near poverty. She is sunny, he is curmudgeonly and the impact of their friendship is startling. Set against a scene of defiant old age, The Old Ones examines the eccentric rituals of old age and plays out the conflict between the optimistic and pessimistic spirit.

Five outstanding plays from the British theatre of the 1960s. This volume contains major works by five of the most important playwrights ot emerge during the late fifties and early sixties. Bold, challenging and iconoclastic, these plays are landmarks of post-war British theatre. Roots by Arnold Wesker focuses on the homecoming of young Beatie Bryant who returns to her family of Norfolk farm workers with stories of her boyfriend Ronnie. Serjeant Musgrave's Dance by John Arden is set in a mining town in the 19th century, with a group of soldiers returned from a colonial war. But when Musgrave is asked to keep the peace with the colliery workers, he decides to do so in a rather unusual way. Loot by Joe Orton is a brilliant parody of the skeleton-in-the-cupboard crime genre, exploding the very notions of English decency, good citizenry and traditional 'positions'. Edward Bond's Early Morning re-imagines the time of Victoria and Albert caught up in a military coup plotted by Disraeli. Peter Barnes' Ruling Class describes the fall out in an aristocratic family after the 14th Earl commits suicide and leaves his estate to a schizophrenic Franciscan friar who is under the illusion that he is Jesus.

This first volume of Wesker's Collected Plays contains the Wesker Trilogy - 'A trilogy which will act as a monument to its era' Daily Mail This trilogy of plays was premiered at the Royal Court Theatre in the 60s and concern Wesker's own background, growing up in a Jewish family in the 30s in the East End of London. 'The action of the trilogy takes place between the middle thirties and the late fifties and has as its background three wars - the Spanish Civil, the Second World, and the Cold. Its purpose is to show the ways in which these huge disturbances impinge on a Jewish working-class household, altering their habits of work and thought, and thus determining the course of their lives. The theme is a vast one and Mr Wesker is splendidly equipped to handle it. Like many Jewish writers, he thinks internationally, yet feels domestically; and it is this combination of attributes that enables him to bring gigantic events and ordinary people into the same sharp focus' (Kenneth Tynan, Observer) 'A trilogy which will act as a monument to its era' (Daily Mail)"The passion of Mr Wesker's theme is matched by the living fire in his writing ...its quality is undiminished by the passing years" Bernard Levin"The theme is a vast one and Mr Wesker is splendidly equipped to handle it. Like many Jewish writers, he thinks internationally, yet feels domestically; and it is this combination of attributes that enables him to bring gigantic events and ordinary people into the same sharp focus" Kenneth Tynan, Observer

It's 1958. Beatie Bryant has been to London and fallen in love with Ronnie, a young socialist. As she anxiously awaits his arrival to meet her family at their Norfolk farm, her head is swimming with new ideas. Ideas of a bolder, freer world which promise to clash with their rural way of life. Roots is the remarkable centrepiece of Wesker's seminal post-war trilogy. It was first performed in 1959 at the Belgrade Theatre, Coventry, before transferring to the Royal Court. It is the second play in a trilogy comprising Chicken Soup with Barley and I'm Talking About Jerusalem. It went on to transfer to the Duke of York's Theatre in the West End. A true classic, Roots is an affecting portrait of a young woman finding her voice at a time of unprecedented social change. This Modern Classic edition features an introduction by Glenda Leeming.

Mattie Beancourt, a 61- year-old woman, reads the autobiography of Mark Gorman, a famous painter. Having grown up in the same East End streets she writes to him. A correspondence develops.She visits him unannounced, and discovers he lives in near poverty and neglect. Her personality is sunny, his is curmudgeonly. Their impact upon each other is startling.... I was an appendage for him. Something stuck on, but not special. He didn't need me. There was never any real passion there. To live a whole life knowing you were not special for anyone...craving it... to be loved and special. Just once in my life, before I die...

Arnold Wesker's perennially popular play The Kitchen will be revived at the National Theatre in October 2011.Set in the basement kitchen of a large restaurant, thirty chefs, waitresses, and kitchen porters, slowly begin the day preparing to serve lunch. The central story tells of a frustrated love affair between a high-spirited, young, German chef, Peter, and a married English waitress, Monique.

"Chicken Soup with Barley "is an epic play that spans twenty years in the life of an East End Jewish family and the gradual crumbling of their socialist dream. It vividly captures the loss of political idealism and links the journey of a single family to the wider political situation.
The kettle boils in 1936 as the fascists are marching. Tea is brewed in 1946, with disillusion in the air at the end of the war. Twenty years on, in 1956, as rumors spread of Hungarian revolution, the cup is empty.
Sarah Khan, an East End Jewish mother, is a feisty political fighter and a staunch communist. Battling against the State and her shirking husband she desperately tries to keep her family together.
This landmark state-of-the-nation play is a panoramic drama portraying the age-old battle between realism and idealism. "Chicken Soup" captures the collapse of an ideology alongside the disintegration of a family.
"Chicken Soup with Barley," the first in a trilogy that includes "Roots" and "I'm Talking about Jerusalem" was first performed at the Belgrade Theatre, Coventry in 1958 and transferred to the Royal Court in the same year.

Presented here are four epic history plays from Sir Arnold Wesker, which touch on the age-old conflicts caused by religion, science and the Establishment. Set in the Jewish ghetto of Venice, 1563, Shylock (1972) is based on the same three stories from which Shakespeare wove his play, The Merchant of Venice. The core plot remains, but the relationships and characterisations are very different. Caritas (1980) is at once the story of a monastic young woman in the fourteenth century but also a metaphor for the wrong decisions which can imprison us for life. In 1144 a young boy was found brutally murdered in Thorpe Wood. The Jews were accused of slaughtering a Christian child touse his blood for Passover and mock the crucifixion. Blood Libel (1991) investigates a calumny which persists to this day. Meanwhile Longitude (2002) tells of the eighteenth-century race to accurately measure longitude - and claim a GBP20,000 reward from Parliament.

Ambivalences is a document of Arnold Wesker in conversation with the Italian academic Chiara Montenero. Here he discusses his ideas on art and drama with a particular focus on some of his most enduring characters. Betraying his reputation as theatre's 'perennial outsider' Ambivalences finds Wesker in generous and engaging form, offering a valuable insight into the mind of one of the definitive post-war British dramatists. First published in Italy, Ambivalences is now available to read in English for the first time.

In The Friends (1970), Esther is diagnosed with leukaemia, causing her friends to reassess their working-class identity, their imagined achievements as well as their own mortality. Bluey (1993) is a play about repressed memory resurfacing and three imagined futures that the protagonist cannot muster the courage to confront. In Men Die Women Survive (1990) a trio of estranged wives gather around the dinner table. As they conduct a post-mortem on their failed relationships a tale of betrayal and revenge emerges. Telling the story of a 44-year-old actress Gertie and her influence on Sam, a black teenager working as a car-park attendant, Wild Spring (1992) explores acting as a metaphor for the false images of ourselves with which we fall in love.