A totally absorbing historical novel about socialites, spies, and the King of England. London, 1936. Socialite and journalist Lady Pamela More pens the popular 'Agent of Influence' column, writing wittily about fashion and high society. For her latest piece, she interviews Wallis Simpson, the newly crowned king's American mistress. That's when she's approached by MI5. Her mission: spy on the royal couple and report on their connections with Nazi Germany. As she navigates the treacherous world of international espionage, Pamela uses her skills of observation and intuition to infiltrate Wallis' inner circle. But Europe is unstable, and international spies lurk on every corner. Does Pamela have what it takes to survive the currents of espionage? Or is she in over her head? This captivating and unputdownable historical spy novel will grip you to the very end. Perfect for fans of Kate Quinn, Barbara Davis and Rhys Bowen.

This engaging text explores the role of the writer and the text in collaborative practice through the work of contemporary writers and companies working in Britain, offering students and aspiring writers and directors effective practical strategies for collaborative work.

The Theatre of Timberlake Wertenbaker offers the first comprehensive overview of Wertenbaker's playwriting career which spans more than thirty years of stage plays. It considers the contexts of their initial productions by a range of companies and institutions, including the Royal Court, the Arcola and the Women's Theatre Group. While examining all of Wertenbaker's original stage works, Sophie Bush's companion focuses most extensively on the frequently studied plays Our Country's Good and The Love of the Nightingale, but also draws attention to early unpublished works and more recent, critically neglected pieces, and the counterpoints these provide. The Companion will prove invaluable to students and scholars, combining as it does close textual analysis with detailed historical and contextual study of the processes of production and reception. The author makes comprehensive use of previously undiscussed materials from the Wertenbaker Archive, including draft texts, correspondence and theatrical ephemera, as well as original interviews with the playwright. A section of Performance and Critical Perspectives from other scholars and practitioners offer a range of alternative approaches to Wertenbaker's most frequently studied play, Our Country's Good. While providing a detailed analysis of individual plays, and their themes, theatricalities and socio-historical contexts, The Theatre of Timberlake Wertenbaker also examines the processes and shape of Wertenbaker's career as a whole, and considers what the struggles and triumphs that have accompanied her work reveal about the challenges of theatrical collaboration. In its scope and reference Sophie Bush's study extends to encompass a wealth of additional information about other individuals and institutions and succeeds in placing her work within a broad range of concerns and resonances.

The Theatre of Timberlake Wertenbaker offers the first comprehensive overview of Wertenbaker's playwriting career which spans more than thirty years of stage plays. It considers the contexts of their initial productions by a range of companies and institutions, including the Royal Court, the Arcola and the Women's Theatre Group. While examining all of Wertenbaker's original stage works, Sophie Bush's companion focuses most extensively on the frequently studied plays Our Country's Good and The Love of the Nightingale, but also draws attention to early unpublished works and more recent, critically neglected pieces, and the counterpoints these provide. The Companion will prove invaluable to students and scholars, combining as it does close textual analysis with detailed historical and contextual study of the processes of production and reception. The author makes comprehensive use of previously undiscussed materials from the Wertenbaker Archive, including draft texts, correspondence and theatrical ephemera, as well as original interviews with the playwright. A section of Performance and Critical Perspectives from other scholars and practitioners offer a range of alternative approaches to Wertenbaker's most frequently studied play, Our Country's Good. While providing a detailed analysis of individual plays, and their themes, theatricalities and socio-historical contexts, The Theatre of Timberlake Wertenbaker also examines the processes and shape of Wertenbaker's career as a whole, and considers what the struggles and triumphs that have accompanied her work reveal about the challenges of theatrical collaboration. In its scope and reference Sophie Bush's study extends to encompass a wealth of additional information about other individuals and institutions and succeeds in placing her work within a broad range of concerns and resonances.

2014. Celia appears to be the woman who has it all -- a high-flying career, financial security and a picture-perfect family. But then a friend from her past reappears and the certainties of her spotless life start to crumble. 1936. Pamela, a journalist, is assigned to interview little-known American socialite Wallis Simpson. What starts as piece on cocktails and couture becomes dangerous when she meets Charlie, an MI5 agent monitoring the relationships between Simpson, the Prince of Wales and German Chancellor Adolf Hitler. 1646. With the men of the village away fighting, Lady Annes Royalist household is struggling to survive the winter with Cromwell's Army bearing down on them. When Joan, Annes illegitimate half-sister and suspected witch, shows up on her doorstep looking for protection, Anne is faced with a terrible choice. World Enough and Time interweaves these three stories in a provocative new play about women's lives in political landscapes. World Enough and Time was first shown at the Park Theatre.