When Dr Stockmann discovers the town's famous spa waters are poisoned, she expects to be treated as a hero for averting an environmental catastrophe. Instead, she's accused by her brother the mayor of threatening the town's livelihood. Public and media opinion divides and the community splits into factions. Tackling fake news, whistle-blowers and the corruption of power, Rebecca Lenkiewicz's contemporary take on Henrik Ibsen's classic premiered at the Nottingham Playhouse in September 2019.

Love is just fear I suppose. Masquerading as a fever. Then you explore each other and suddenly you have licence to become totally pedestrian. And ultimately abusive. Militancy in the Suffragette Movement is at its height. Thousands of women of all classes serve time in Holloway Prison in their fight to gain the vote. Amongst them is Lady Celia Cain who feels trapped by both the policies of the day and the shackles of a frustrating marriage. Inside, she meets a young seamstress, Eve Douglas, and her life spirals into an erotic but dangerous chaos. London 1913. A crucial moment when, with emancipation almost in sight, women refuse to let the establishment stand in their way. Rebecca Lenkiewicz's Her Naked Skin premiered at the National Theatre, London, in July 2008.

Six plays by some of the most exciting and distinctive female voices in British theatre, exploring the heartbreaking truth about the lives of women in the criminal justice system. The plays were commissioned and premiered by Clean Break, a theatre and education company working with women whose lives have been affected by the criminal justice system. Included in this volume: Fatal Light by Chloe Moss, about a young mother's inability to cope with separation from her daughter. Taken by Winsome Pinnock, about a mother confronted by the child she had to give up. Dream Pill by Rebecca Prichard, about two children forced into prostitution. Doris Day by E V Crowe, about two police officers and their different expectations of the job. Dancing Bears by Sam Holcroft, about the twisted loyalties and violence in teenage gangs. That Almost Unnameable Lust by Rebecca Lenkiewicz, about a writer holding workshops with older women in a prison. The plays were first performed at Soho Theatre, London, in November 2010.

A collection of wide-ranging and ambitious short plays reflecting the complexities of women and political power in the United Kingdom. The four plays published here look back to the moments in history when women possessed - or achieved - power, and what they did with it. The Milliner and the Weaver by Marie Jones, about the Suffragette movement in Ireland, as the question of Home Rule divides the nation. The Lioness by Rebecca Lenkiewicz is about Queen Elizabeth I, the myth and the reality. Handbagged by Moira Buffini, about the working relationship between Mrs Thatcher and the Queen. Bloody Wimmin by Lucy Kirkwood, about the protests at Greenham Common, a political landmark in the fight for nuclear disarmament. The plays were first performed at the Tricycle Theatre, London, as part of the Women, Power and Politics season in June 2010. The other plays presented in the season are available in the companion volume, Women, Power and Politics: Now.

Play something kitty-cat-ish . . . sweet. Imagine I've died and you're galloping through fields. As their thirtieth wedding anniversary approaches, Alice and Edgar are locked in a bitter struggle. They've driven away their children and their friends. Their relationship is sustained by taunts and recriminations. When a newcomer breaks into the midst of the fray, their insular lives threaten to spin out of control. We're all just bodies and when we're dead we're worm food, but as long as your body keep going, flailing or thrashing about, we are duty bound to fight, to scratch and kick, until you're fucked. That's my philosophy. Laced with biting humour, The Dance of Death is August Strindberg's landmark drama about a marriage pushed to its limits, adapted in a thrilling new version by Rebecca Lenkiewicz. The Dance of Death opened at the Bath Theatre Royal's Ustinov Theatre in May 2022 before going on UK tour in an Arcola Theatre, Cambridge Arts Theatre, Royal & Derngate, Northampton, Oxford Playhouse and Theatre Royal Bath Productions co-production.

Walkern, 1712. England has been free from witch-hunts for decades until Jane Wenham is blamed for a tragic death and charged with witchcraft. A terrifying ordeal begins, as the village is torn between those who want to save Jane's life and those who claim they want to save her soul. Inspired by events in a Hertfordshire village, the play explores sex and society's hunger to find and create witches. Rebecca Lenkiewicz's Jane Wenham: The Witch of Walkern premiered at Watford Palace Theatre before going on UK tour in September 2015, in an Out of Joint, Watford Palace Theatre and Arcola Theatre co-production, in association with Eastern Angles.

The fashionables? They just want to know if a painting's hot. Whether it will gain. Queen Victoria said of Turner, 'He is quite mad.' A cockney who spoke his mind, he did not fit into the norm of the artist. Society saw him as a misfit, shocking, controversial. He was a visionary, the father of modern painting. The play examines his relationship to three women in his life. English painting is dead. It's dealers making fortunes out of sentimental dross. Cherubs. Dogs. The Painter by Rebecca Lenkiewicz premiered at the Arcola Theatre, London, in January 2011 in the production which marked the opening of its new premises on Ashwin Street.

'An absorbing work, full of passion, pathos and sly humour, set in the hip art scene of London's East End.... There is a rare combination of pain, wit and originality in Lenkiewicz's writing that bodes exceptionally well for the future... This is a play that combines raw pain, frank sexuality and ribald comedy to potent and ultimately uplifting effect.' Daily Telegraph 'Lenkiewicz, whose characters speak with vicious and lyrical fluency, catches people in the grip of erotic-emotional trouble... in this rich comedy of crazy Eros.' Evening Standard 'Fresh, self-confident and thoughtful... Lenkiewicz writes fine dialogue, and every word feels comfortable in the mouths of her actors. Their conversations are crisp, witty and sexy - her text repays reading....Shoreditch Madonna confirms the progress of an imaginative writer and a sensitive director.' New Statesman Shoreditch Madonna premiered at Soho Theatre, London, in July 2005.

I cry in the daytime and in the night season am not silent. Psalm 22 Late at night, shoeless, in the rain, a film actor playing the poet Yeats turns up drunk at his appointed Sligo digs. He is met by the grandmother and they dance together to 'Lili Marlene'. In the morning they are discovered, sharing a blanket, by Patrick and his three daughters. Patrick craves tobacco, whiskey and a date with the local barmaid; the sisters yearn for sensation and escape. A funny, modern, intoxicated tale of love and loss, The Night Season premiered at the National Theatre, London, in 2004.

A new adaptation of Henry James's classic novella adapted for the stage by Rebecca Lenkiewicz. This adaptation was first staged at the Almeida Theatre, London, in January 2013.

The Night Season 'The Night Season is unusual; no politics, no issues, no history - just a bold attempt to grapple with the messy nature of living. It's also delightfully, rudely funny.' Financial Times 'Look out for the name Rebecca Lenkiewicz. It's once in a blue moon that a writer gets her second-ever play staged at the National. It's even more remarkable when you wander away at the end, walking on air.... Lenkiewicz is quite extraordinarily talented.' Independent on Sunday Shoreditch Madonna 'A strong absorbing work, full of passion, pathos and sly humour, set in the hip art scene of London's East End... There is a rare combination of pain, wit and originality in Lenkiewicz's writing.' Daily Telegraph Her Naked Skin 'It is shocking to think that this is the first full-length work by a woman to be seen on the Olivier stage. But Lenkiewicz makes up for lost time by exploring the hunger for political and personal emancipation that fuelled the suffragette movement in 1913... Her play colonises this daunting space with bravura confidence.. Her power lies in her ability to recapture the triumphs and tribulations of a history movement... Lenkiewicz's play plants a defiant feminist flag on the Olivier stage.' Guardian 'This is a big play with a big heart and I recommend it with a matching warmth. Lenkiewicz is making history here and, in so doing, demonstrating that she's got a great future.' Daily Telegraph The Painter 'An intimate portrait of Turner... Understated and quietly superb.' Independent on Sunday