What does it mean for a play to be political in the 21st century? Does it require explicit engagement with events and situations with the aim of bringing about change or highlighting social wrongs? Is it purely a matter of content or is it also a matter of structure? The Contemporary Political Play: Rethinking Dramaturgical Structure examines the politics of contemporary 'political' drama. It traces the origins of the contemporary British political play to the emergence of the idea of 'serious drama' in the late 19th century through the work of Bernard Shaw, and argues that a Shavian version of serious drama was inextricably linked to the social and political structures of British society at the time. While political drama is still often thought of as adhering to a Shavian model in which social issues are presented through a dialectical structure, Grochala argues that the different political structures of contemporary Britain give rise to formally inventive dramaturgies that are no less 'serious' or political than their Shavian forebears. Through analysing the experimental dramaturgies of contemporary plays by playwrights including Caryl Churchill, Simon Stephens, Anthony Neilson, debbie tucker green and Mark Ravenhill, among others, it offers a set of new principles for understanding how a play functions politically and reveals how today the dramaturgical structure of a play is as political as its content.

A second series of adventures from Big Finish begins, featuring Christopher Eccleston as the Ninth Doctor. Time and again, the Doctor finds himself returning to his favourite planet. Dropping in on history or the present-day, whether it's kings, commuters or ordinary people, he's never met anyone who wasn't important... 1.1 Station to Station by Robert Valentine. A deserted railway platform can be the loneliest place on Earth. But when Saffron is stranded at Underbridge station, she meets echoes of the past - and a fellow lost traveller. And the Doctor knows that something is hunting them... 1.2 The False Dimitry by Sarah Grochala. Moscow: 1605: the old Tsar is dead - but some blame unnatural forces. Perhaps the mysterious Doctor in the palace can help? A successor advances on the Kremlin with an army, preparing the country for war. But Tsarevich Dimitry is not what he seems... 1.3 Auld Lang Syne by Tim Foley. Every December, Mandy Litherland gathers the family at Foulds House to see in the New Year. Not everyone appreciates her efforts. At least the caretaker seems friendly - if a little weird. Mandy hopes she'll see him again next year - but perhaps she already has... CAST: Christopher Eccleston (The Doctor), Alexander Arnold (Dimitry Ivanovich), Sean Baker (Witherow), John Banks (Tsar Boris Fyodorovich Godunov/Captain Mikhail Mikhailovich Zubov), Ian Bartholomew (The Grimminy-Grue/Gordon), Katy Brittain (Oksana Vladimirovna Kuznetsova/Robot), Leah Brotherhead (Mandy Litherland), Wendy Craig (Great Aunt Bette), Patricia England (Mrs Hodkin), Indigo Griffiths (Saffron Windrose), Greig Johnson (Frank), Jack Myers (Aleksander (Sasha) Petrovich Kuznetsov), Hayley Tamaddon (Auntie Sue). Other parts played by members of the cast.

Since the late 1990s, Rupert Goold has garnered a reputation as one of the UK's most exciting and provocative theatre directors. His exhilarating, risk-taking productions of both classic texts and new plays have travelled from regional stages to the National Theatre, the West End, Broadway and beyond. Through his artistic directorship of Northampton's Royal & Derngate, the touring theatre company Headlong and London's Almeida Theatre, he has radically transformed, not only the companies themselves, but the landscape of British theatre. This is the first book to survey and analyse the full range of Goold's work to date and is a vital resource for students, scholars and fans of his work. Based on extensive interviews with Goold and some of the playwrights, designers, actors and other creatives who have collaborated with him, The Theatre of Rupert Goold provides an account of Goold's work from the beginnings of his career to the present day, offering a backstage view of the creative processes behind some of his most successful productions including: Paradise Lost, Faustus (Royal & Derngate); Macbeth (Chichester Festival Theatre); The Tempest, Romeo and Juliet (RSC); Six Characters in Search of an Author, ENRON (Headlong); Time and the Conways (National Theatre); Charles III and Ink (Almeida). The Theatre of Rupert Goold is an accessible and fascinating guide to Goold's approach to making theatre, an approach that asks provocative questions of the modern world in the most theatrical ways imaginable.

It's the near future, and mankind has expanded its presence in space. Maintaining law and order beyond Earth is the responsibility of the International Space Police Force, known colloquially as the Star Cops. Their leader is Commander Nathan Spring. 1.1 Dead Air by Roland Moore. When Sonia Garrett dies during a routine moonwalk, the Star Cops suspect that her suit was sabotaged. As part of the investigation, Devis and Paul travel to an ancient space station to interview Xander O'Brien. But the reclusive meteorologist has a surprise in store. He knows exactly who killed Sonia Garrett. Aliens! 1.2 Hostile Takeover by Rossa McPhillips. A crashed shuttle with no passengers or crew on board. The murder of a gangster. The kidnapping of a space station union leader. What connects all three cases? As Nathan's team investigate, they encounter Alice Okoro, a corporate investigator for Wolfe International. What is her agenda? Is she there to hinder or help the Star Cops? 1.3 Death in the Desert by Sarah Grochala. When the sister of Lee Jones, his deceased former lover, is kidnapped from a research lab in Chad, Nathan travels to Earth to investigate in person. At the same time, Paul and Devis discover evidence that someone may have found a way to smuggle narcotics onto the Moon, bypassing drugs testing. As both investigations progress, an enemy of the Star Cops sees an opportunity to close a trap. Please note: Star Cops features some mild swearing and content which may not be suitable for younger listeners. CAST: David Calder (Nathan Spring), Trevor Cooper (Inspector Colin Devis), Linda Newton (Acting Chief Superintendent Pal Kenzy), Philip Olivier (Inspector Paul Bailey). Further cast details to be announced. PLEASE NOTE: Star Cops features some mild swearing and content which may not be suitable for younger listeners.

As if the alien Vulpreen weren’t enough, what remains of UNIT faces another formidable adversary. The mercurial Time Lord Missy is on the side of the Vulpreen, helping and encouraging them in their ambition to become the rulers not just of Earth, but of all Space and Time. Contains four new adventures: One Way or Another by John Dorney. Kate leads an attack on a Vulpreen prison camp, unaware that UNIT friends are being held there. As paths converge, Kate and Osgood have different perspectives on the attack, and specific dangers to overcome. Traitors’ Gate by Sarah Grochala. Osgood is a prisoner in the Tower of London, which is now a Vulpreen base. To rescue her friend, Kate must devise a plan to raid her former headquarters. Inside the Tower, the Vulpreen are determined to access the Black Archive and the hugely dangerous alien technology it contains. How long can Osgood keep them out? The Destiny Labyrinth by Alison Winter. The UNIT team find themselves traveling through various epochs in Earth’s history. The only guide they have is working for the enemy, and the Vulpreen are hot on their heels. Help comes from a new friend, a young healer who already has a curious relationship with time. True Nemesis by Andrew Smith. Under Missy’s guiding hand, the Vulpreen are ready to strike out, to establish themselves as the new Masters of Time. UNIT’s confrontation with Missy in the depths of Portugal’s Douro Valley will decide the fate of not just the Earth but the whole Universe. CAST: Jemma Redgrave (Kate Stewart), Ingrid Oliver (Osgood), Michelle Gomez (Missy), Eleanor Crooks (Naomi Cross), Chris Lew Kum Hoi (Lieutenant Jimmy Tan), James Joyce (Josh Carter), Christopher Naylor (Harry Sullivan), Alisdair Simpson (Lord Varliss), Glen McCready (Bert Hockley / Jesden / Vulpreen Commander), Harriet Kershaw (Sorgan), Stewart Scudamore (Ashley Bassett), Donna Berlin (Lorraine Forrester), Oscar Batterham (Michel), Fiona Hampton (Kini), Harry Myers (Hugo da Costa / Crastor). Other parts played by members of the cast.

Since the late 1990s, Rupert Goold has garnered a reputation as one of the UK’s most exciting and provocative theatre directors. His exhilarating, risk-taking productions of both classic texts and new plays have travelled from regional stages to the National Theatre, the West End, Broadway and beyond. Through his artistic directorship of Northampton’s Royal & Derngate, the touring theatre company Headlong and London's Almeida Theatre, he has radically transformed, not only the companies themselves, but the landscape of British theatre. This is the first book to survey and analyse the full range of Goold's work to date and is a vital resource for students, scholars and fans of his work. Based on extensive interviews with Goold and some of the playwrights, designers, actors and other creatives who have collaborated with him, The Theatre of Rupert Goold provides an account of Goold’s work from the beginnings of his career to the present day, offering a backstage view of the creative processes behind some of his most successful productions including: Paradise Lost, Faustus (Royal & Derngate); Macbeth (Chichester Festival Theatre); The Tempest, Romeo and Juliet (RSC); Six Characters in Search of an Author, ENRON (Headlong); Time and the Conways (National Theatre); Charles III and Ink (Almeida). The Theatre of Rupert Goold is an accessible and fascinating guide to Goold’s approach to making theatre, an approach that asks provocative questions of the modern world in the most theatrical ways imaginable.

Jetsetter, adventurer, and owner of a very unusual London bus, Lady Christina de Souza is travelling the globe and catching up with the relatives. First, a treasure hunt with her reprobate father in the Indian Ocean. Then a flying visit to the Australian outback in search of a lost Great Aunt...But Sam Bishop and Jacqui McGee of UNIT are on her trail. As one reunion takes a dangerous turn, Christina has a hard decision to make - for the good of the family! 2.1 The Wreck by James Goss. When Christina joins her father on a cruise off the coast of Zanzibar, she is surprised to meet his new fiancee Bunny. But Lord Alfred has his eyes on another trophy altogether. An underwater shipwreck, containing treasures as deadly as they are beautiful... Are the de Souzas ready to pay the price to bring them to the surface? 2.2 Outback by Sarah Grochala. In need of respite, Christina seeks out her Great Aunt Eugenia, and finds herself looking for answers in the Australian outback. Has her aunt really been abducted by aliens? What secrets lie within the Jajutuma crater? And why are Sam Bishop and Jacqui McGee of UNIT on Christina's trail? 2.3 Long Shot by John Dorney. Royal Northcote: highlight of the racing calendar. Lady Christina hopes for a win, as do Sam Bishop and Jacqui McGee, looking into some mysterious deaths. With secret agents and rogue family members on the scene, an assassin closes in on their target. But Lady Christina is at her best when the odds are stacked against her. CAST: Michelle Ryan (Lady Christina de Souza), Warren Brown (Lt Sam Bishop), William Gaminara (Lord Alfred de Souza), Siân Phillips (Lady Eugenia de Souza), Tracy Wiles (Jacqui McGee), Delroy Atkinson (Mike/Messingham/UNIT Trooper), Sarah Blackstone (Maisie Flint), Rosa Coduri (Bunny), Clive Hayward (Steven/General Announcer), Joseph Kloska (Ivo HislopCannon/UNIT Operator), James Smillie (John Flint). Other parts played by members of the cast.

During the events of Doctor Who - Ravenous 2, Liv Chenka left the Doctor and the TARDIS behind. Just for one year. A year during which she would live on Kaldor and get to know her sister Tula all over again. But Kaldor is going through a period of tumultuous change. Technology is changing at an advanced rate - the robots are evolving, artificial intelligence is adapting, and with these changes so politics is altering too. Dangerously. Can Liv and Tula make a difference during the most turbulent time in the world's history? 2.1 The Robots of War by Roland Moore. A visit to an old flame goes badly wrong for Liv and Tula and soon they find themselves locked down in a military training base, surrounded by traitors and robots designed and built for war. As they attempt to get everyone out alive, is there a chance they’ve missed something important? 2.2 Toos and Poul by Andrew Smith. When a murder takes place in an isolated outpost, there’s only one man who can look into the crime. Investigator Poul, newly reunited with his Sandminer colleague Toos. But can he over-come his fears and prejudices and solve the case? 2.3 Do No Harm by Sarah Grochala. After an incident in a laboratory leads to a tragedy, someone needs to be found accountable. And who better to be prosecuted than a robot? But when complicated ethical questions arise, the outcome of the trial becomes bigger than a single case. What if somebody else is working behind the scenes? CAST:Nicola Walker (Liv Chenka),Claire Rushbrook (Tula Chenka/SV22/SV104), David Collings (Ander Poul), Pamela Salem (Lish Toos), Tracy Wiles (Ren/SV66/Gat), Homer Todiwala(Rax Heron), Harley Viveash (Frenton Cal/V90), Silas Carson (Captain Garlon Rosh), Ian Conningham(V11/Kaden Olsen/Nomad), Satnam Bhogal (Jabel Tyrus/Prospector), Indra Ové (Tayna Vandermoy), Rachel Atkins (Zarda/V225), Kieran Bew (Lunk/V97). Other parts played by members of the cast.

Three more thrilling episodes based on the adventures of Steed and Mrs Peel in the TV Comic strips. 6.1 Seven Deadly... Assassins by Roland Moore, Steed and Mrs Peel are on a cruise ship guarding a jewel, trapped with seven assassins who are after the gem... or are they? 6.2 Stand and Deliver by Sarah Grochala, Steed and Mrs Peel face a group of Highwaymen, and encounter a variety of different forms of espionage on their way. And they also have to be alert, as there is a spy at work within the organisation. 6.3 You Won't Believe Your Eyes by John Dorney, In the English countryside, strange things are afoot, with sightings of dinosaurs, polar bears and lions. Steed and Mrs Peel go on the trail of a potential weapon... but will their eyes deceive them? CAST: Julian Wadham (John Steed), Olivia Poulet (Emma Peel), Zora Bishop (Essie/Beata/Tannoy), John Dorney (Johnson/Sammy), Wayne Forester (George/Worrall/Franz/Scientist), Alasdair Hankinson (Conrad Talbot), Lucy Heath (Pilar Pollen), Lara Lemon (Tallulah Drake/Gluttony), Grant Masters (Emmett Shand/Wrath), Harry Myers (Captain Benjamin Crow/Pride/Envy/Greed), Jonny Weldon (Lord Jimmy De Montfort). Other parts played by members of the cast.

This release features a recreation of the first ever cast of Doctor Who, as seen on BBC TV in 2013's celebratory 'An Adventure in Space and Time' with David Bradbury then appearing as the Doctor in 2017's Peter Capaldi finale. Contains two stories; 5.1 For the Glory of Urth by Guy Adams. The TARDIS has barely landed in an alien sewer when a distant scream sends Susan racing to give aid, and the crew split up. Trying to reunite, the travellers find themselves in something resembling a monastery led by a man half-way between an Abbot and a warlord. They discover that they are in 'Urth', a barbaric place clinging on to its former glory. It's somewhere its populace are never allowed to leave, somewhere keeping many secrets from its people. And today those secrets will be revealed...5.2 The Hollow Crown by Sarah Grochala. When the TARDIS lands in Shoreditch, 1601, the Doctor suggests going to see a play at the Globe Theatre and his friends readily agree. But this is a turbulent time. There is violence in the streets, plots against the Queen, and rebellion is in the air. At the centre of it all stands the most famous playwright in British history - William Shakespeare - who is having troubles of his own. As tensions mount and wheels turn within wheels, the travellers are about to discover if the play really is the thing... Cast: David Bradley (The Doctor), Claudia Grant (Susan), Jemma Powell (Barbara Wright), Jamie Glover (Ian Chesterton), Nicholas Asbury (William Shakespeare), Wendy Craig (Queen Elizabeth I), Liane-Rose Bunce (Lady Penelope Rich/Hawker), Ian Conningham (Robert Devereaux, Earl of Essex/Lord Cecil), Lauren Cornelius (Judith Shakespeare), Susie Emmett (Sissy Cruciatu), Amanda Hurwitz (Mummy Martial/Computer Voice), Phil Mulryne (Bruddle Medicus/Guard 2), Phyllida Nash (Brooskin), Clive Wood (Daddy Dominus/Clubwell/Guard 1). Other parts played by members of the cast

May is an idealist. She s fighting for a better world and has sacrificed more than most. So when the old regime is destroyed, she is rewarded with a job as a prison photographer. Inspired by the work of the photographer Nhem En, Sarah Grochala draws on prison records and interviews with both prisoners and Khmer Rouge cadres to create a startling and affecting drama.

What does it mean for a play to be political in the 21st century? Does it require explicit engagement with events and situations with the aim of bringing about change or highlighting social wrongs? Is it purely a matter of content or is it also a matter of structure? The Contemporary Political Play: Rethinking Dramaturgical Structure examines the politics of contemporary 'political' drama. It traces the origins of the contemporary British political play to the emergence of the idea of 'serious drama' in the late 19th century through the work of Bernard Shaw, and argues that a Shavian version of serious drama was inextricably linked to the social and political structures of British society at the time. While political drama is still often thought of as adhering to a Shavian model in which social issues are presented through a dialectical structure, Grochala argues that the different political structures of contemporary Britain give rise to formally inventive dramaturgies that are no less 'serious' or political than their Shavian forebears. Through analysing the experimental dramaturgies of contemporary plays by playwrights including Caryl Churchill, Simon Stephens, Anthony Neilson, debbie tucker green and Mark Ravenhill, among others, it offers a set of new principles for understanding how a play functions politically and reveals how today the dramaturgical structure of a play is as political as its content.