The Mountaintop is published here as a Methuen Drama Student Edition, featuring notes and commentary by Martine Kei Greene-Rogers, Assistant Professor at SUNY: New Paltz, US. The introduction offers a discussion of key themes including race, identity, politics, magical realism, one-act plays, historical figures and martyrs. The night before his assassination, Martin Luther King, Jr. retires to room 306 in the now-famous Lorraine Motel after giving an acclaimed speech to a massive church congregation. When a mysterious young maid visits him to deliver a cup of coffee, King is forced to confront his past and the future of his people. Portraying rhetoric, hope and ideals of social change, The Mountaintop also explores being human in the face of inevitable death. The play is a dramatic feat of daring originality, historical narration and triumphant compassion. This edition includes an interview with Ron OJ Parson, director of the Court Theatre production, Chicago 2013/14.

Exactly one year ago, I stood in that crumbling pulpit in Riverside and shouted that this war would be our own violent undoing, freedom's suicide . . . Well, I'll tell you, there weren't too many Amens that Sunday. But who is a man who does not speak his mind? He is not a man, but I am a man. The night before his assassination, King retires to room 306 in the now-famous Lorraine Motel after giving an acclaimed speech to a massive church congregation. When a mysterious young maid visits him to deliver a cup of coffee, King is forced to confront his past and the future of his people. Portraying rhetoric, hope and ideals of social change, The Mountaintop also explores being human in the face of inevitable death. The play is a dramatic feat of daring originality, historical narration and triumphant compassion. This Modern Classics edition of the play features a foreword by Michael Eric Dyson and an introduction by Faedra Chatard Carpenter, Assistant Professor and Director of Undergraduate Studies in Theatre, University of Maryland.

Drawing together the work of 12 leading playwrights, this National Theatre Connections anthology celebrates highlights from 21 years of the Connections festival with a retrospective selection of plays. Featuring work by some of the most prolific playwrights of the 20th and 21st centuries, and together in one volume, the anthology offers young performers between the ages of 13 and 19 an engaging selection of plays to perform, read or study. Each play has been specifically commissioned by the National Theatre's literary department over the years, with the young performer in mind. In 2016, these plays were then performed by approximately 500 schools and youth theatre companies across the UK and Ireland, in partnership with multiple professional partner regional theatres at which the works were showcased. The anthology contains all 12 of the 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 Snoo Wilson, Gary Kemp and Guy Pratt; Simon Armitage; Jackie Kay; Patrick Marber; Mark Ravenhill; Bryony Lavery & Frantic Assembly; Davey Anderson; James Graham; Katori Hall; Carl Grose; Stacey Gregg; and Lucinda Coxon.

An important new voice for African-American theatre, Katori Hall explores the lives of black and often invisible Americans with vivid language, dynamic narratives and richly textured characterisation. Hoodoo Love is Hall's debut play, a tale of love, magic, jealousy and secrets in 1930s Memphis, written in vivid language which captures the spirit of the Blues. Saturday Night/Sunday Morning is set in a Memphis beauty shop/boarding house during the final days of WWII. Rich with humor and history, it is a story about friendship and finding love in unexpected places. Winner of the Olivier Award for Best New Play 2009, The Mountaintop is a historical-fantastical two hander, portraying the penultimate day in the life of Martin Luther King. Hurt Village won the 2011 Susan Smith Blackburn Prize. Set in a real-life Memphis housing project, it explores in vivid and at times brutal detail a long-lasting legacy of drug abuse, child abuse, crime, and self-hatred within a poor, working-class, multi-generational Black family. This first collection of Katori Hall's dramatic works demonstrate her unique voice for the theatre, which is visceral, passionate and energetic. Hall portrays disenfranchised portions of society with fearless humanity and startling accomplishment.

"The Methuen Drama Book of New American Plays" is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi's "Stunning," is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley's lyrical epic "The Road Weeps, The Well Runs Dry" deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee's "Pullman, WA" deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall's "Hurt Village "uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn's "Dying City" melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc's "The Big Meal," an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.