The story of Puss in Boots is ingeniously combined with that of Cinderella in this hilarious show. Puss in Boots transforms humble Colin Miller into Prince Charming. Cinderella's Fairy Godmother helps her to become Princess Priscilla, despite her meddling stepsisters. The two marry, providing two happy endings. Outrageous characters, a wealth of jokes and a fast-paced plot make this a hugely likeable show, which can be performed by a small cast without songs.-2 women or men

M4 F2. The living room of a country house A comedy of manners set in the late 1920s, Mirage takes place at the country house party of Gerald and Evadne Fairfax. Newlyweds Pamela and Desmond Borage arrive first, followed by the caddish Dinsdale Morton who swiftly closets himself in the gun room to hide from Pamela, who can't stand the sight of him - or his ukulele. Pamela and Gerald are embroiled in a steamy affair while gin-loving Evadne is hysterical after being disturbed in a state of undress by an "intruder" who turns out to be Desmond. He, meanwhile, is preoccupied with the fact that he has inadvertently signed up for the Foreign Legion. The Fairfaxes' deadpan butler, Butters, oversees proceedings with a cup of whisky-laced tea to fortify himself. Mr Desmond Borage. Mrs Pamela Borage (nee Anstruther), his wife. Butters, a butler. Mr Gerald Fairfax. Mrs Evadne Fairfax, his wife. Mr Dinsdale Morton.

This plays needs 11 principals; extras; and, various simple settings. Tom "Tink" Bell is the town crier, not a "boo hoo" crier, but a "yoo hoo" crier. Unfortunately he's prone to making mistakes, and when he accidentally announces that celebrations for the Emperor Persimmon the Twelfth's birthday will take place every Friday, sure enough the emperor insists that is what must happen. Soon the town is on the brink of bankruptcy from the cost of all the festivities, and two tricksters, Sly and Wily, have convinced the emperor to spend even more money on a new outfit that they claim only very intelligent and powerful people can see. Sly and Wily have also tricked Jack into parting with his beloved cow in exchange for five "magic" beans, but can Jack save the town by retrieving the gold at the top of the beanstalk? And what will happen when the emperor appears in his brand new "birthday suit"? David Foxton's play for children merges two popular pantomimes with hilarious results and plenty of audience participation. This casting includes: Tom Bell, the town crier, known to all as "Tink"; Aloysisus Sly, a rogue and confidence trickster, partner to Wily; Cressida Wilhelmina Wily, a rogue and confidence trickster, partner to Sly; Abigail Bell, Tink's long suffering daughter; Abacus, the Treasurer to the Court; Lord Chamberlain; Guard Captain; Emperor Persimmon, our Emperor; Empress Petronella, Emperor's wife; Jack, the young man of Beanstalk fame; Jack's Mother; 2 Attendants; and, Courtiers, Guards, Fashion Models and stage hands.

M6 F9. 5 M or F. A room in a 12th-century manor house. A tour guide is taking a group of visitors around a 12th-century manor and brings them to a mysterious room with no windows or doors, an 'oubliette', from the French for 'to forget'. Unknown to the present-day tourists, they are accompanied in the room by Anne who lived in the manor 500 years previously as a servant girl to its lord, James Darlow. She is soon joined by a group of other servants who have been stealing from their master, and by Susan Makem, an eccentric loner rumoured to be a witch. As the story unfolds the reason for the 'oubliette' becomes clear.

Marcel arrives at the Signac home hoping to see his beloved Marie-Celeste, a dancer. Instead he encounters the maid, Honorine, while Yvette, the lady of the house, mistakes Marcel for Claude, a marauding vagrant. A raucous, swiftly-moving comedy of mistaken identities, shotguns and confusion with an unexpectedly happy ending for all concerned.

Plotting abounds among the individuals in an animated deck of playing cards, as the greediest of the cards hatch a plan to steal the trophies and gate money from a stadium event.

This delightful comedy of errors follows the fortunes of Perkin and Wat. Perkin is royal odd-job man to the court of the Emperor. His friend, Wat, has recently been demoted from court pastrycook following a disastrous batch of cakes (Wat swears he was framed by the head cook). Wat is the comic focus, meaning well, but repeatedly foiled. Our heroes triumph at the last, Wat regaining his status and Perkin winning the heart of Princess Sophie.Large flexible cast

This perceptive play for young adults, set ten years after the bomb, portrays with frightening clarity the destruction of human character as social standards are lost in a struggle for power and survival. In the ruins of an abandoned building fifteen teenage survivors struggle to make sense of the desolation. Ironically, they begin to repeat their parents' mistakes. The play ends with a thought provoking clash of personalities.Flexible cast

The Crowns, the King and the Long Lost Smile is a play ior seven men, three women and extras. The play tells the story of how the Crown Troupe -Thomas, Ben, Will and Sally-a strolling band of entertainers, help the Princess Dulcinea find her father the King, who has been kidnapped by the wicked Baron Drax, and thus regain her long lost smile. The easily staged settings encourage plenty of audience participation.Flexible cas

Karl Llewellyn described Thomas Scrutton as 'the greatest English-speaking commercial judge of a century'. Scrutton played a key role in a number of politically sensitive court cases from the Great War to the 1930s. This biography draws on unpublished sources to evaluate his contribution as counsel, campaigner and judge in a number of areas: the development of a modern law of copyright; the checking of executive power in and after the Great War; and his attempt to develop English commercial law on a basis which reflected the practices and expectations of the commercial community. In addition to providing valuable insights into the nature of legal practice and advancement in the Victorian and Edwardian eras, the book examines Llewellyn's claim that Scrutton adopted a 'realist' approach to the development of commercial law, and uses the body of Scrutton's judgments to explore the limits of a 'realist' approach to jurisprudence.