Here is a hilarious look at the artistic pretensions of the young and the rich that charts a decade in the life of a London family transplanted to an idyllic country setting. A literary agent and his wife buy a Devon cottage where she can write, children will be happy, and they can relax. Into their world walks the local vicar a classically comic character who tends their magnificent garden and their emotional if not spiritual needs as the outside world intrudes with failure and disillusionment.-3 women, 5 men

A very English modern play, reeking of real tragedy, real humour and real life. The Common Pursuit chronicles the erosion of the ambitions of a smug, elitist group of Cambridge frien's. Stuart is editor of a literary magazine and the pursuit of excellence is shown to be economically a bad proposition in this world. The magazine collapses and the characters' fates vary as the play proceeds. An ironic epilogue returns to the early days in Cambridge with the young people planning their futures.1 woman, 5 men

Never has the celebrated author of Butley and Otherwise Engaged been more amusing and more touching than in this thoroughly delightful portrait of a mediocre but lovable English schoolteacher named St. John Quartermaine and his fellow faculty at a small school in Cambridge which teaches English to foreigners.2 women, 5 men

Stage Struck, an inventive thriller that employs a handful of actors to play chameleon like parts within parts, opens in the living room of one Robert Simon. Formerly a first rate stage manager in a provincial repertory company, he now he keeps house for his West End actress wife while amusing himself with various sexual adventures. He is a thoroughly happy man until the clumsy intervention of a psychiatrist destroys his happiness and his marriage. He plans a hideous revenge on his wife and the psychiatrist a reveng, which allows him to rediscover all his old talents.1 woman, 3 men

Isolated university professor Simon Hench, completely and selfishly otherwise engaged in listening to a new recording "Parsifal" is continually interrupted by students, friends, lovers and life.2 women, 5 men

The final volume of the trilogy that began with The Smoking Diaries finds Simon Gray determined to give up smoking. Really. At last. Can he kick the habit of sixty years? Will he, sometime soon, be able to leave his house without nervously feeling for his two packets of twenty and his two lighters? As this wonderful, wayward record of Gray's life progresses, these questions are overtaken by much larger ones. What was sex like before 1963? Will his name be in lights on Broadway? Why leave the bedside of his dying mother? With their combination of comedy and serious reflection, of sharp observation and painful self-disclosure, Simon Gray's diaries reinvented the memoir form and are destined to become classics of autobiography.

When he turned sixty-five, the playwright Simon Gray began to keep a diary: not a careful honing of the day's events with a view to posterity but an account of his thoughts as he had them, honestly, turbulently, digressively expressed. The Smoking Diaries was the result, in which one of Britain's most beloved and original writers reflected on a life filled with cigarettes (continuing), alcohol (stopped), several triumphs and many more disasters, shame, adultery, friendship and love. Few diarists have been as frank about themselves, and even fewer as entertaining.

The Pig Trade, Japes Too, Michael, The Holy Terror The Pig Trade is set in 1937 in the Villa of I Tatti outsider Florence where, under the menacing shadow of Mussolini, a famous art historian and a notorious art dealer have an explosive final encounter. Japes Too and Michael are companion plays, in which the love of two brothers for one woman both highlights and obscures their dependency on each other but where fate and tragedy strike differently. Simon Gray's play Melon, which follows a publisher into his nervous breakdown and out again, enjoyed great success in the West End but, dissatisfied with the work, Gray revised it so thoroughly that a new play with the same central character emerged, entitled The Holy Terror. This volume also contains a brief chronicle by the author on the gestation of his work and the impossibility of writing. 'Simon Gray is actually one of the most accessible, elegant and tender of contemporary writers. He is also, both on stage and on the printed page, laugh-out-loud funny.' Charles Spencer, Daily Telegraph 'Gray's plays, funny and sad, have a savage honesty at their heart.' Mail on Sunday

From heartbreaking reflections on his own mortality to characteristically outrageous asides--"everybody knows somebody who knows somebody who was given six months to live, and here they are, only just dead, eight years later or, in exceptional cases, here they still are, eating oysters and boring the shit out of people"--Gray's self-proclaimed "last written words on the subject of myself" records his extraordinary emotional journey. Darkly comic depictions of the medical team are set against joyful accounts of sunlit days with this beloved wife, Victoria, in Crete and a beautiful early summer in Suffolk. Woven into the narrative are arguments with himself, "Dialogue between a Thicko and a Sicko," a shameful childhood memory, and a masterfully tense "distraction," written in real time while waiting for his final prognosis--and smoking one last cigarette. Written with exceptional candor and a poignant reluctance to leave this world behind, "Coda" is painful and beautiful.

As a baby, Simon Gray discovered that he could move his pram while still nestling inside it. 'It was a complete mystery to the adult intelligences, how had he done it, if it was he who had done it, but if not he, who then and why? So the next afternoon they (Mummy and Nanny) planted the pram in the usual spot, and stood over it, watching - the baby lay there smiling or snivelling up at them, until it struck them that they should try observing the baby when unobserved by the baby, and they withdrew behind bushes and trees etc.; and thus witnessed the swaying of the pram, then the juddering of the pram, then its slow, unsteady progress along the path, the movement accompanied by a low humming and keening sound from within that reminded them more of a dog than a human ... "jouncing" was the word they used for it. I was a jouncer therefore.' In the second book of his chronicles of triumph and disaster which started with The Smoking Diaries, Gray intertwined scenes from his adult and his childish self to produce a brilliant and moving counterpoint of life's unsteady progress.

'Sharp, funny and clever . . . What a pleasure to re-encounter a play that combines unabashed intelligence and zinging wit with a rare generosity of spirit.' Daily Telegraph on The Common Pursuit 'Gray's stature as one of the handful of great tragi-comic English dramatists of the second half of the twentieth century would appear now to be undisputed.' Howard Jacobson, Critical Quarterly Hidden Laughter 'A sad divine comedy, superbly written. Gray nurses his characters and cares for them, but he never pampers them, or pities them, or presumes to use them as his spokesman. In this respect, he has become an English Chekhov... At the same time, Gray dispenses some of the incandescent malice and moral savagery of Coward at his acid best... But, of course, comparisons can only help you get your bearings. Gray is entirely his own man in this painful, querulous, warm, hard and mature play.' Sunday Times

'A superbly written play, a funny play, an agonising play. It is, moreover, a play of truth and insight. A play to savour.' Punch on Otherwise Engaged 'Life in the theatre hasn't brought me anything more rewarding than directing Simon Gray's plays.' Harold Pinter Plaintiffs and Defendants Exceptionally good... the play gave such a rending picture of married mess that it was hard to know where to look.' Clive James, Observer 'Simon Gray is the one [TV playwright] whose work I most relish seeing for his acerbic wit, wonderful ironies and above all for his care with our mother tongue.' Dennis Potter

'The brave little lives that Gray so compassionately illuminates could be lived by any of us, and that's why they arouse emotions that are anything but small.' New York Times on Quartermaine's Terms

Butley 'What is so wondrous about a play so basically defeatist and hurtful is its ability to be funny. The stark, unsentimental approach to the homosexual relationship, the cynical send-up of academic life, the skeptical view of the teacher-pupil associations are all stunningly illuminated by continuous explosions of sardonic, needling, feline, vituperative and civilised lines.' Evening Standard