"Tales of the Tricycle Theatre "provides an inside look at the history of the north London theatre which has achieved renown with its staging of black, Irish, verbatim and political drama. Co-published with the Society for Theatre Research, the book draws extensively on archival research and interviews with actors, playwrights, directors, designers and board members to document and celebrate the work of one of London's most artistically exciting and politically engaged theatres.Terry Stoller presents the Tricycle's story, giving you a front-row view of the theatre's productions, including: - the work of generations of black British writers, from Mustapha Matura and Alfred Fagon to Roy Williams, Kwame Kwei-Armah and Bola Agbaje- Irish plays ranging from Bernard Shaw's "John Bull's Other ""Island "to Brendan Behan's "The Hostage"- its critically lauded political play cycles "The Bomb - A Partial ""History "and "The Great Game: Afghanistan," the latter performed at the Pentagon in 2011" The Tricycle Theatre] has been both defiantly local and proudly international, it has held a mirror up to British society, and, above all, it has proved that political engagement is not incompatible with the highest artistic standards. It has helped make my life as a critic worthwhile . . ."Michael Billington, Foreword

A book of selected theatre reviews from 2020 from one of the foremost authorities on British theatre. Starting each chapter is a brief commentary on the developments of that era and the social, political and cultural context within which this theatre was being produced. Also included are key obituaries and letters in response to reviews written, providing a rich collection of curated archival material. Following on from his first collection, One Night Stands, Michael Billington's chronicle offers a rich, authoritative insight into British theatre over the last 3 decades from his unique professional perspective. It begins with Tony Kushner's UK premiere of Angels in America at the National Theatre in 1992 and culminates with Inua Ellams's celebrated adaptation of Chekhov's Three Sisters at the same venue almost 30 years later. En route, we're exposed to the fallibility of theatre criticism through his much-regretted original criticism of Sarah Kane's Blasted and its role in identifying major talents at the first opportunity. Having fairly recently retired from his 48-year position as the Guardian newspaper's drama critic during which time he wrote around 10,000 theatre reviews, Michael Billiington was Britain's longest-serving theatre critic. Through his work, he was present at an eye-watering number of premieres during this time and witnessed first-hand the exciting developments in British theatre over the past 30 years and the substantial pressures it faced - never more so than today.

"This 1925 comedy of manners that's funny yet also unorthodox and unsettling... a celebration of abnormality and at the same time a disquieting study of both the pleasures and the pains of not being able to restrain oneself." - Evening Standard When four guests, all invited by different members of the Bliss family, arrive for a weekend at their country house near Maidenhead, they're expecting a idyllic retreat. But this peaceful promise is quickly trounced when the self-absorbed eccentricities of the Blisses are trained on the guests, who leave the country mansion humiliated and embarrassed. First produced in 1925, Hay Fever is a technical masterpiece, seamlessly combining high farce with a comedy of manners, and delivering Coward his first major commercial success. This new edition is published in Methuen Drama's iconic Modern Classics series to coincide with the 125th anniversary of Coward’s birth and features a new introduction by Michael Billington.

Having surveyed post-war British drama in State of the Nation, Michael Billington now looks at the global picture. In this provocative and challenging new book, he offers his highly personal selection of the 101 greatest plays ranging from the Greeks to the present-day. But his book is no mere list. Billington justifies his choices in extended essays- and even occasional dialogues- that put the plays in context, explain their significance and trace their performance history. In the end, it's a book that poses an infinite number of questions. What makes a great play? Does the definition change with time and circumstance? Or are certain common factors visible down the ages? It's safe to say that it's a book that, in revising the accepted canon, is bound to stimulate passionate argument and debate. Everyone will have strong views on Billington's chosen hundred and one and will be inspired to make their own selections. But, coming from Britain's longest-serving theatre critic, these essays are the product of a lifetime spent watching and reading plays and record the adventures of a soul amongst masterpieces.

"The best theatrical read of the year." - British Theatre Guide A book of selected theatre reviews from 1992 to 2020 from one of the foremost authorities on British theatre. Each chapter starts with a brief commentary on the developments of that era and the social, political and cultural context within which British theatre was being produced. Key obituaries and letters in response to reviews written are also included, providing a rich collection of curated archival material. Following on from his first collection, One Night Stands, Michael Billington's chronicle offers a rich, authoritative insight into British theatre over the last 3 decades from his unique professional perspective. It begins with Tony Kushner's UK premiere of Angels in America at the National Theatre in 1992 and culminates with Inua Ellams's celebrated adaptation of Chekhov's Three Sisters at the same venue almost 30 years later. En route, we're exposed to the fallibility of theatre criticism through his much-regretted original criticism of Sarah Kane's Blasted and its role in identifying major talents at the first opportunity. Having recently retired from his 48-year position as the Guardian newspaper's drama critic during which time he wrote around 10,000 theatre reviews, Michael Billiington was Britain's longest-serving theatre critic. Through his work, he was present at an eye-watering number of premieres during this time and witnessed first-hand the exciting developments in British theatre over the past 30 years and the substantial pressures it faced - never more so than today.

All 14 episodes from the second series of the BBC's classic yarn of 19th-century love and passion on the high seas. This series heralds the end of the American Civil War, leading to new opportunities for the shipping trade - but James (Peter Gilmore) is preoccupied with both business and personal troubles. Meanwhile, as struggling seamen prepare to strike, Anne (Anne Stallybrass) is torn between her principles and loyalty to her husband. Episodes are: 'The Hard Case', 'Pound and Pint', 'A Woman Alone', 'Fetch and Carry', 'Yellow Jack', 'Survivor', 'Coffin Ship', 'Frisco Bound', 'Beyond the Upper Sea', 'An Inch of Candle', 'Goodbye, Goodbye', 'Bloody Week', 'The Challenge' and 'Race for Power'.

The townships of Urmston, Flixton and Davyhulme nestle neatly in a triangular area bordered on the south by the River Mersey, on the north-west by the River Irwell/Manchester Ship Canal and on the east by the M60 motorway. In this, the first substantial book on the area since 1898, local historian Michael Billington draws on census records, newspaper reports, antiquarian books, church accounts, Victorian church magazines, trial records, OS maps, burial records, Industrial School Act records and conversations with local historians and residents. The author, himself an Urmstonian, takes the reader on a journey of discovery in his portrayal of old houses (many now demolished due to disrepair or to make way for the motorway), churches, farms, weaving, the arrival of the railway, children and education, entertainment, sport, customs, culture, the war years and more. There are many previously unpublished photographs, maps and stories to take older residents on a nostalgic journey down memory lane whilst also introducing younger readers to a fascinating trio of townships some seven miles or so to the south-west of Manchester, itself immersed in the glory of the Industrial Revolution.

James Bond (Roger Moore), in his tenth screen outing, joins forces with a glamorous Russian spy (Barbara Bach) to outwit a megalomaniac shipping magnate (Curt Jurgens) who intends to achieve world domination by causing nuclear war between the superpowers. The film features the submersible Lotus Esprit, underwater battles, and 'Jaws', a seven-foot villain with steel teeth.