'They say Pericles caught democracy from you in bed.' Today, Socrates is revered as the founding father of Western philosophy. But in 399 BC Athens, he was a pain in the neck. The plague is over, democracy is (just about) restored, and everyone would like to get back to normal. How hard is it for one ageing firebrand to stop asking questions? It's time to shut him up... Based on eyewitness accounts, Howard Brenton's Cancelling Socrates is a provocative and witty play about an uncompromising voice in dangerous times. It was premiered at Jermyn Street Theatre, London, in June 2022, directed by the venue's Artistic Director Tom Littler.

A celebration of a great English heroine, Anne Boleyn dramatises the life and legacy of Henry VIII's notorious second wife, who helped change the course of the nation's history. Traditionally seen as either the pawn of an ambitious family manoeuvred into the King's bed or as a predator manipulating her way to power, Anne - and her ghost - are seen in a very different light in Howard Brenton's epic play. Rummaging through the dead Queen Elizabeth's possessions upon coming to the throne in 1603, King James I finds alarming evidence that Anne was a religious conspirator, in love with Henry VIII but also with the most dangerous ideas of her day. She comes alive for him, a brilliant but reckless young woman confident in her sexuality, whose marriage and death transformed England for ever. Howard Brenton's play Anne Boleyn was first performed at Shakespeare's Globe, London, in July 2010, and was named Best New Play at the Whatsonstage.com Awards in 2011. The play was revived at the Globe in 2011 and toured regionally in 2012 in a joint production between Shakespeare's Globe and English Touring Theatre.

'It wasn't just her freakish ability with language. She saw through to behind the words. It was like she had a direct line to - I was going to say to "the gods"...' About to be fired from her cleaning job for stealing a volume of Euripides, Jude turns her employer's outrage to shock by translating the ancient Greek on the spot. The employer, a Classics teacher, knows great talent when she sees it and the encounter kick-starts Jude's lifelong ambition to study at Oxford University. Possessing an astonishing gift for languages, Jude will stop at nothing to achieve her dream - but she remains oblivious to the hidden barriers that her background has placed in her path... Loosely inspired by Thomas Hardy's novel Jude the Obscure, Howard Brenton's play Jude is a modern-day tale of unexpected genius and of our struggle to accommodate extraordinary talent. The play premiered at Hampstead Theatre, London, in 2019, directed by Edward Hall.

August Strindberg's classic portrayals of secrets and lies, seduction and power – both written in the summer of 1888 – in brilliant new versions by Howard Brenton. Miss Julie begins as a flirtatious game between the daughter of a wealthy landowner and her father's manservant, and gradually descends, over the course of a long and sultry Midsummer's Eve, into a savage fight for survival. In Creditors, young artist Adolf is deeply in love with his new wife Tekla – but a chance meeting with a suave stranger shakes his devotion to the core. Passionate, dangerously funny, and enduringly perceptive, Strindberg considered this wickedly enjoyable black comedy his masterpiece. Both plays premiered in co-productions between Jermyn Street Theatre, London, and Theatre by the Lake, Keswick, directed by Jermyn Street's Artistic Director Tom Littler.

First staged at London's National Theatre in 1980, having been commissioned by Peter Hall, The Romans in Britain contrasts Julius Caesar's Roman invasion of Celtic Britain with the Saxon invasion of Romano-Celtic Britain, and finally Britain's involvement in Northern Ireland during The Troubles of the late twentieth century. As these scenes bleed into one another, Brenton suggests what it might have been like for these people to meet. Three Roman soldiers sexually assault a young druid priest. A lone, wounded Saxon soldier stumbles into a field, a nightmare made real. An army intelligence officer begins to lose his mind in the Irish fields. Brenton's sinewy vernaculars summon a lost history of cultural collision and oppression, of fear and sorrow. This edition features an introduction by Philip Roberts, Emeritus Professor of Drama & Theatre Studies at the University of Leeds, and a foreword by director Sam West.

Howard Brenton's Lawrence After Arabia explores the afterlife of a legend, when being a hero has become a burden, and the man once celebrated as Lawrence of Arabia wants only to be normal once more. August, 1922. The most famous man in England has vanished without a trace: T.E. Lawrence has completely disappeared. But in the idyllic calm of the village of Ayot St Lawrence, on the top floor of the home of Mr and Mrs Bernard Shaw, the 'uncrowned King of Arabia' is hiding - with slabs of homemade carrot cake for comfort. Wearied by his romanticised persona and worldwide fame, disgusted with his country and himself, Lawrence is craving normality. But when you're a brilliant archaeologist, scholar, linguist, writer and diplomat - as well as a legendary desert warrior - how can you ever be normal? And beyond the Shaws' garden wall, nobody cares how he feels: England just wants its hero back. Can he ever return? Howard Brenton's Lawrence After Arabia, commissioned to mark the centenary of the start of the Arab revolt, finds Lawrence trapped in his love/hate relationship with the limelight, tormented by ghosts and haunted by broken promises. It premiered at Hampstead Theatre, London, in 2016, directed by John Dove.

An epic, hilarious and moving play that takes a sideways look at the First World War. 1915. Jack Twigg, twenty-one years old, enlists in the London Regiment and goes on a journey he never imagined - nor did the rest of the world. On his way, he meets the pioneering medic Harold Gillies, who saves his life and his sanity. And who is the mysterious Doctor Scroggy who appears at night in Gillies' hospital dispensing champagne to the patients? Doctor Scroggy's War premiered at Shakespeare's Globe, London, in September 2014. Howard Brenton is a prolific playwright whose plays have been staged at the Royal Court Theatre, National Theatre, RSC and Shakespeare's Globe among others. Other writing work includes collaborations with David Hare and thirteen episodes of the BBC1 drama series Spooks. 'sharp and entertaining... strikes a chord with our own intensified concern for the returning veterans of Afghanistan and Iraq' - WhatsOnStage 'appealing and engaging... one of the very finest of this year's glut of First World War dramas' - Evening Standard 'Howard Brenton's fine new play... hits you in the heart' - Guardian 'compelling... [a] big, warm, perceptive play' - Telegraph

A vivid telling of the chaotic story of the partition that shaped the modern world. London, 1947. Summoned by the Prime Minister from the court where he is presiding judge, Cyril Radcliffe is given an unlikely mission. He is to travel to India, a country he has never visited, and, with limited survey information, no expert support and no knowledge of cartography, he is to draw the border which will divide the Indian sub-continent into two new Sovereign Dominions. To make matters even more challenging, he has only six weeks to complete the task. Wholly unsuited to his role, Radcliffe is unprepared for the dangerous whirlpool of political intrigue and passion into which he is plunged - untold consequences may even result from the illicit liaison between the Leader of the Congress Party and the Viceroy's wife... As he begins to break under the pressure he comes to realise that he holds in his hands the fate of millions of people. Howard Brenton's play Drawing the Line was premiered at Hampstead Theatre, London, in December 2013.

A gripping historical play that dramatises a crucial moment of English history. December 1648. The Army has occupied London. Parliament votes not to put the imprisoned king on trial, so the Army moves against Westminster in the first and only military coup in English history. What follows over the next fifty-five days, as Cromwell seeks to compromise with a king who will do no such thing, is nothing less than the forging of a new nation, an entirely new world. Howard Brenton's play depicts the dangerous and dramatic days when, in a country exhausted by Civil War, a few great men attempt to think the unthinkable: to create a country without a king. 55 Days was first performed at Hampstead Theatre, London, in October 2012, in a production directed by Howard Davies.

An irreverent and provocative drama questioning the basis of Christianity, by the author of The Romans in Britain. The most famous conversion in history - when Saul became Paul on the road to Damascus - was a trick. It was actually Jesus appearing to him. Jesus did not die on the cross but was rescued and sheltered by his brother James, by Peter and by Peter's wife, Mary Magdalene. But they prefer to keep Paul in the dark because, although he is mistakenly preaching that Christ rose again, at least it keeps him busy and gets the Christian message out there... Now imprisoned by Nero, Peter finally tells Paul the truth before they go to their deaths as the first Christian Martyrs. Howard Brenton's play Paul was first performed at the National Theatre, London, in 2005.

I loathe us, I loathe our stupid puerile view of the world ... That we have only to do it, that we have only to go puff, and the monster buildings will go splat ... London, the early 70s. Poverty, homelessness, rising inequality, unemployment, industrial disputes. Five young activists squat a disused building and try to make a stand against it all. Fired up by left-wing idealism, but short on pragmatism, they discover that the revolution may be a long time coming and when the protest leads to tragedy, some of them are driven to more violent methods. Meanwhile, two Tory MPs meet for a quiet chat to pass over the reins of power. Both epic and intimate, Howard Brenton's 1973 play Magnificence takes us from the grubby barracks of the revolutionary struggle to the heart of centre-right Tory politicking, creating a panoramic vision of Britain at a pivotal moment in history. Many of its themes remain burning issues today - police brutality, drug abuse, the deceptions of professional politicians, the social housing crisis and whether violence can ever be justified for political ends. Magnificence originally premiered at the Royal Court Theatre, London, in June 1973, directed by Max Stafford-Clark and with a cast that included Pete Postlethwaite, Kenneth Cranham, Michael Kitchen and Robert Eddison. This edition was published to coincide with the first professional London revival in over 40 years at the Finborough Theatre in October 2016.

A fascinating portrait of Harold Macmillan in an epic play about the decline of British fortunes in the middle of the twentieth century. Set against a back-drop of fading Empire, war, the Suez crisis, vintage champagne, adultery and vicious Tory politics at the Ritz, Never So Good paints the portrait of a brilliant, witty but complex man, at times comically and, in the end, tragically out of kilter with his times. Harold Macmillan, the Eton-educated idealist who rushed, with Homer's Iliad under his arm, to do his duty in the Grenadier Guards, is tormented by the harsh experiences of war and an unhappy marriage. His career in the 1930s is blocked by his loyalty to Winston Churchill, and he nearly loses his life in the Second World War. When at last he becomes Prime Minister he is brought down by the Profumo scandal. Howard Brenton's Never So Good was first performed in the Lyttelton auditorium of the National Theatre in March 2008, directed by Howard Davies and starring Jeremy Irons as Macmillan.

War rages in the Balkans. While NATO bombs Serbia, the Kosovan Albanians are driven out of their homes. Europe is divided. In homes everywhere, people debate the rights and wrongs of the war. This play reveals the results.

Also includes The Stigma Manifesto Pity Tony's nannies at New Labour's Millbank election war-room: they're working night and day to get 'Red Ken' and prevent him from becoming Mayor of London. Suddenly it's Ken, the cuckoo in the nest, who's getting the people's vote and Millbank, charged with plotting his downfall, is getting desperate. Ever more dastardly plots are afoot as the election draws nearer. Snogging Ken was produced at the Almeida in April 2000: 'the first step in the return of democracy to London'.

Full Length, Drama / 3m, 2f / Bare stage

This fascinating drama, staged to acclaim in London and New York, has in its cast of characters Lord Byron, Percy Bysshe Shelley, Mary Shelley and Claire Goodwin. The play is about radicalism artistic, political and more. Taking place in Italy, it concerns the characters' various ideas about radical politics and free love. Along the way, a number of serious questions are raised, not the least of which is why fervent radicals seem so often to be done in by their reprehensible characters. At the end of the play Byron attends the cremation of Shelley on the beach at Viareggio and delivers a stunning ovation over the pyre: "Burn him. Burn us all. A great big bloody beautiful fire."

"Radicalism, artistic defiance, an intellectual rage. These are the virtues celebrated in this extraordinary dream play which begins, as it ends, on a foreign shore." London Financial Times.

"A phantasmagoric play. . . . Brenton is celebrating the idea of the committed artist who seeks to stir and provoke sullen, defeated, bourgeois England. At the same time with clear eyed honesty, he shows how difficult it is to upset the moral order." London Guardian.

The complete collection of Buchner's plays in one volume Buchner was acknowledged by figures as divergent as Antonin Artaud and Bertolt Brecht to be the forefather of modern theatre. On his death at the age of 23, he left behind some outstanding dramatic works: his historical drama, Danton's Death, 'the most remarkable first play in European culture' (Guardian), translated here by Howard Brenton and Jane Fry; the innovatory tragedy, Woyzeck, translated by John Mackendrick; and the absurdist comedy, Leonce and Lena, translated by Anthony Meech. He also left a powerful short story, Lenz, an important account of his research into cranial nerves, and his revolutionary pamphlet, The Hessian Courier. All these are collected in this one volume and supplemented with a selection of his remarkable letters.

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.

The press and politicians. A delicate relationship. Too close, and danger ensues. Too far apart, and democracy itself cannot function. Pravda (which means "truth") is a satire written at the height of Thatcherism when huge political changes were afoot. The play essentially studies, through black humour and close scrutiny, the tabloid ethic and the media industry as a get-rich-quick-fix. In the programme for the original 1985 production of Pravda, Brenton wrote: "Pravda means 'the truth'. English newspapers aren't propaganda sheets. The question is, why do so many of them choose to behave as if they are?" The character of Lambert Le Roux is a South African newspaper tycoon and the owner of several companies, striding his way through the regional papers en route to Fleet Street. Turning broadsheets tabloid, dumbing down the message, and stretching the truth, Le Roux takes no prisoners as he manipulates politicians and creates a media monopoly out of a once-respected industry. Le Roux is bent on dominating England's press as he has elsewhere in the world. As we see Le Roux accomplish his aims, we see also how the press is not the organ of truth we like to think it is. The dissemination of the truth is no longer its primary goal under the 'Lambert Le Rouxs' of our world. What is important now is what sells. The play is an epic satire on the media in the Thatcher era; a morality tale about how Andrew, a young liberal journalist, finally succumbs to Le Roux, who makes him editor of a tabloid; and - allegedly - the play is a direct representation of Rupert Murdoch who, even in 1985, was a major force in media ownership. Howard Brenton's and David Hare's first collaboration since Brassneck in 1973, Pravda was premiered at the National Theatre in May 1985, starring Anthony Hopkins and directed by David Hare, and was awarded the London Standard Best Play Award, the City Limits Best Play Award, and the Plays and Players Best Play Award. This Modern Classics edition features an introduction by Philip Roberts, Emeritus Professor of Drama and Theatre Studies at the University of Leeds, and a foreword by Jonathan Church.

A gripping new version of Strindberg's masterly, darkly hilarious depiction of the struggles and strains of marriage. Meet Edgar and Alice. Married for almost thirty years, theirs is a relationship of mutual explosive loathing. Strindberg's tale paints a compelling and bitterly funny portrait of a magnificently doomed couple, whose ongoing battle threatens not only their future, but that of their friends and children as well. Howard Brenton's Dances of Death includes both Part One and the rarely performed Part Two of this masterpiece of European theatre, condensed into a single two-act drama. The play premiered at the Gate Theatre, London, in May 2013.

Drawing together the work of ten leading playwrights - a mixture of established and current writers - "National Theatre Connections 2013 "offers young performers between the ages of thirteen and nineteen everywhere an engaging selection of plays to perform, read or study. Each play is specifically commissioned by the National Theatre's literary department and reflects the past year's programming at the venue in the plays' ideas, themes and styles. The plays are performed by approximately 200 schools and youth theatre companies across the UK and Ireland, in partnership with multiple professional regional theatres where the works are showcased.The volume features an introduction by Anthony Banks, Associate Director for the National Theatre Discover Programme, and each play includes notes from the writer and director addressing the themes and ideas behind the play, as well as production notes and exercises.Published to coincide with the 2013 Connections festival, and the 50th anniversary of the National Theatre, this year's collection features work from Howard Brenton, Jim Cartwright, Lucinda Coxon, Ryan Craig, Stacey Gregg, Jonathan Harvey, Lenny Henry, Jemma Kennedy, Morna Pearson, and Anya Reiss.

A timely play based on the true story of a Nobel Laureate. On 3 April 2011, as he was boarding a flight to Taipei, the Chinese Artist Ai Weiwei was arrested at Beijing Airport. Advised merely that his travel "could damage state security", he was escorted to a van by officials after which he disappeared for 81 days. On his release, the government claimed that his imprisonment related to tax evasion. Howard Brenton's play is based on recent conversations with Ai in which he told the story of that imprisonment - by turns surreal, hilarious, and terrifying. A portrait of the Artist in extreme conditions, it is also an affirmation of the centrality of Art and of freedom of speech in civilised society.

Passionate, highly entertaining and gloriously funny - Robert Tressell's classic pre-First World War account of the working lives of a group of housepainters and decorators is vividly adapted by Howard Brenton. The Ragged Trousered Philanthropists recounts the little daily successes and the disasters of a group of working-class men, living under the constant fear of being laid off by employers forever looking for new corners to cut. Both workers and bosses are caught in a system spiralling out of control, but why is it the workers always come out worse? Howard Brenton's stage adaptation, first performed at the Everyman Theatre in Liverpool in June 2010 in a co-production with Chichester Festival Theatre, lays bare the many social injustices perpetrated on these men whilst capturing their individual characters with touching truth to life.

This is your rhetoric translated. These wretches, these executioners, the guillotine are your speeches come to life. You have built your doctrines out of human heads...Why should an event that transforms the whole of humanity not advance through blood? 1794: the French Revolution reaches its climax. After a series of bloody purges the life-loving, volatile Danton is tormented by his part in the killing. His political rival, the driven, ascetic Robespierre, decides Danton's fate. A titanic struggle begins. Once friends who wanted to change the world, now one stands for compromise the other for ideological purity as the guillotine awaits. A revolutionary himself, George Buchner was 21 when he wrote the play in 1835, while hiding from the police. With its hair-raising on-rush of scenes and vivid dramatisation of complex, visionary characters, Danton's Death has a claim to be the greatest political tragedy ever written. In his newly-revised translation, Howard Brenton captures Buchner's exhilarating energy as Danton struggles to avoid his inexorable fall.

From his work in the 1960s with Portable Theatre and the Royal Court, to his plays for the National Theatre and the Royal Shakespeare Company, Brenton has confronted the pressing political issues of times and created a controversial theatre. This volume is a self-commentated selection of his journalism, mainly from the last five years, plus three diaries centring on Moscow, Far North Queensland and The Romans in Britain. Howard Brenton is the author of Iranian Nights, Hess is Dead and Epsom Downs.