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More outstanding cuttings from cutting edge contemporary plays and playwrights. The monologs in this new text are highly original works not found in other published versions. All are from very recently produced plays from both established and emerging new writers. The fifty selections are for actors 10 to 24 years of age, suitable for competitive auditions, forensics, oral interpretation or acting exercises. The collection is divided equally between male and female characters, with a variety of pieces for minority actors. These monologs address the major trends and conflicts of today through revealing glimpses of society as we know it. Includes the work of forty contemporary playwrights. A must for any auditioning actor or theatre student. Featuring monologs from: Visiting by Evan Guilford-Blake, When Fat Chicks Rule the World by Karen Mueller Bryson, Devils by Linda Elsensteln, Aurora's Motive and Waving Goodbye by Jamie Pachino, Duck Blind and I Am Marguerite by Shirley Barrie, ...80 Teeth, 4 Feet and 500 Pounds by Gustavo Ott, Listen to Our Voices by Claire Braz-Valentine, Grace Notes and The Belles of the Mill by Rachel Rubin Ladutke, Fun House Mirror and Mother, Tree, Cat by Dori Appel, Too Much Punch for Judy by Mark Wheeller and many more.
The Fleabag bites back. A rip-roaring account of some sort of female living her sort of life. Phoebe Waller-Bridge's debut play is an outrageously funny monologue for a female performer. It premiered at the 2013 Edinburgh Festival Fringe, performed by Phoebe herself, before transferring to Soho Theatre, London, for several successful runs, followed by a UK tour. It won a Fringe First Award in Edinburgh, the Most Promising New Playwright and Best Female Performance at the Off West End Theatre Awards, The Stage Award for Best Solo Performer and the Critics' Circle Award for Most Promising Playwright. It received a Special Commendation in the Susan Smith Blackburn Prize and was nominated for the Olivier Award for Outstanding Achievement in an Affiliate Theatre. In 2016 it was turned into a wildly successful and 'utterly riveting' (Guardian) BBC television series. This edition also features an introduction by the author.
The importance of Tawfiq al-Hakim (1898 to 1989) to the emergence of a modern Arabic literature is second only to that of Naguib Mahfouz. If the latter put the novel among the genres of writing that are now an accepted part of literary production in the Arab world today, Tawfiq al-Hakim is recognized as the undisputed creator of a literature of the theater. In this volume, Tawfiq al-Hakim's fame as a playwright is given prominence. Of the more than seventy plays he wrote, The Sultan's Dilemma, dealing with a historical subject in an appealingly light-hearted manner, is perhaps the best known; it appears in the extended edition of Norton's World Masterpieces and was broadcast on the old Home Service of the BBC. The other full-length play included here, The Tree Climber, is one that reveals al-Hakim's openness to outside influences in this case, the absurdist mode of writing. Of the two one-act plays in this collection, The Donkey Market shows his deftness at turning a traditional folk tale into a hilarious stage comedy. Tawfiq al-Hakim produced several of the earliest examples of the novel in Arabic; included in this volume is an extract from his best known work in that genre, the delightful Diary of a Country Prosecutor, in which he draws on his own experience as a public prosecutor in the Egyptian countryside. Three of the many short stories he published are also included, as well as an extract from The Prison of Life, an autobiography in which Tawfiq al-Hakim writes with commendable frankness about himself. Contents: Introduction by Denys Johnson-Davies, The Sultan's Dilemma (full-length play), The Tree Climber (full-length play), The Donkey Market (one-act play), The Song of Death (one-act play), Diary of a Country Prosecutor (extract from the novel), Miracles for Sale (short story), The Prison of Life (extract from the autobiography), Azrael the Barber (short story), Satan Triumphs (short story).
One of the first Russian writers to make a name for herself on the Internet, Linor Goralik writes conversational short works that conjure the absurd in all its forms, reflecting post-Soviet life and daily universals. Her mastery of the minimal, including a wide range of experiments in different forms of micro-prose, is on full display in this collection of poems, stories, comics, a play, and an interview, here translated for the first time. In Found Life, speech, condensed to the extreme, captures a vivid picture of fleeting interactions in a quickly moving world. Goralik's works evoke an unconventional palette of moods and atmospheres-slight doubt, subtle sadness, vague unease-through accumulation of unexpected details and command over colloquial language. While calling up a range of voices, her works are marked by a distinct voice, simultaneously slightly naive and deeply ironic. She is a keen observer of the female condition, recounting gendered tribulations with awareness and amusement. From spiritual rabbits and biblical zoos to poems about loss and comics about poetry, Goralik's colorful language and pervasive dark comedy capture the heights of absurdity and depths of grief.
Drama / 3m (1 white, 2 black) / Int.
The role that won Zakes Mokae a Tony Award brought Danny Glover back to the New York stage for the Roundabout Theatre's revival of this searing coming of age story, considered by many to be Fugard's masterpiece. A white teen who has grown up in the affectionate company of the two black waiters who work in his mother's tea room in Port Elizabeth learns that his viciously racist alcoholic father is on his way home from the hospital. An ensuing rage unwittingly triggers his inevitable passage into the culture of hatred fostered by apartheid.
"One of those depth charge plays that] has lasting relevance and] can triumphantly survive any test of time...The story is simple, but the resonance that Fugard brings to it lets it reach beyond the narrative, to touch so many nerves connected to betrayal and guilt. An exhilarating play...It is a triumph of playmaking, and unforgettable."-New York Post
"Fugard creates a blistering fusion of the personal and the political."-The New York Times
"This revival brings out the play's] considerable strengths."-New York Daily News
This third richly varied collection of plays by Marina Carr was published to coincide with the Royal Shakespeare Company's premiere of Hecuba at the Swan Theatre, Stratford-upon-Avon, in September 2015. Sixteen Possible Glimpses imagines sixteen fleeting moments in Anton Chekhov's short life and work. Phaedra Backwards retells the Phaedra myth to discover what shaped her. The Map of Argentina offers a meditation on love and what happens when it is denied, or pursued and hunted down. Hecuba was written in reaction to the bad press this Trojan queen receives, and reimagines how she may have suffered and reacted. Indigo is a dark and passionate romance amongst fairies, demons, ghouls and every sort of fantastic creature out of folklore and myth.
Mary and Reg are really looking forward to their daughter coming home. Reg always used to make Charlotte her cocoa at night. It was the one thing about being a parent he really enjoyed. But there's no sign of Charlotte, or the cat, who seems to have hidden herself away...Why is Charlotte coming home now, after so long away? And what is she bringing with her? This is a haunting new play of mist and memory on the Yorkshire Moors by acclaimed writer George Gotts, "Cocoa" opens at Theatre 503 in April 2007.
A first volume of four plays from the Amercian playwright whose play Dying City was a critical and popular success at the Royal Court Theatre in May 2006. * Other People is set in New York among a twenty-something generation whose lives and hopes are blighted by disillusionment born of affluence and impotence in the face of the unknown. The play premiered in March 2000. * Where Do We Live, set in a post-September 11 world, asks to what extent New York's liberal multicultural society is under threat and how much we should care about the state in which our neighbours live. * The Coming World moves from Shinn's usual Manhattan environment to the coast of New England, where Dora is persuaded, against her better judgement, to help her ex, Ed, in a desperate attempt to escape from spiralling debt. Produced at the Soho Theatre in 2001. * Dying City shifts between 2004 and 2005 - the eve of one brother's departure for Iraq and the day that his twin brother visits his now widowed sister-in-law. The play premiered at the Royal Court Theatre in May 2006 to great critical acclaim. The books also features an introduction by the author.
This volume brings together four plays containing aspects of the African-American contribution to United States cultre.
'The only difference between me and the people judging me is they weren't smart enough to do what we did.' One of the most infamous scandals in financial history becomes a theatrical epic. At once a case study and an allegory, the play charts the notorious rise and fall of Enron and its founding partners Ken Lay and Jeffrey Skilling, who became 'the most vilified figure from the financial scandal of the century.' Mixing classical tragedy with savage comedy, Enron follows a group of flawed men and women in a narrative of greed and loss which reviews the tumultuous 1990s and casts a new light on the financial turmoil in which the world finds itself in 2009. The play is Lucy Prebble's first work for the stage since her debut work The Sugar Syndrome, winner of the George Devine and Critic's Circle Awards for Most Promising New Playwright. Produced by Headlong, Enron premiered at Chichester's Minerva Theatre on 11 July 2009 and opened at the Royal Court Theatre, London, in September, before transferring to London's West End Jan - May 2010 and to Broadway April 2010.
West End opening for world premiere of new play by the author of Death and the Maiden - starring Rupert Graves A Man and a Woman - who are timeless versions of the mythical Jason and Medea - have entered purgatory: a soul-less white room. Each is interrogated in turn by the other. Each has to reach a state of forgiveness and contrition before they can leave purgatory and 'move on'. In the course of all this the Medea 'story' is reprised - particularly from her point of view. An outstanding moment is when she recalls - with terrible reality - how she actually killed her children: including the horrifying decision as to which one to kill first (while the other looks on). Purgatory is like Sartre's Huis Clos rewritten by Kafka. The whole play has a hypnotic, mesmeric, circular quality: the end links up to the beginning in a seamless round. It is a play brimming with ideas, blending myth with multifold literary references. There has been nothing as serious and ambitious on the London stage for years.
A sequel collection of winning monologues in the style and format of 101 Monologues for Middle School Actors by the same author. Rebecca Young knows how middle schoolers think and act and what they like to talk about These monologues, duologues, and triologues may be used for auditions, class assignments, or discussion starters. With such a wide variety of topics, there is a monologue to fit any student's personality or preference. These characters speak as teenagers live. Easy to stage.
Join the jury as two of history's most stubborn intellectuals go head-to-head in a highly entertaining battle of reason versus faith. Set in late 1517, this smart, sprightly and audacious comedy centres on a fictitious meeting between university colleagues Dr. Faustus (a man of appetites), Martin Luther (a man of faith), and their student Hamlet (a young Prince struggling not only with his beliefs but also with his tennis game).This sparkling celebration of history, language, academia and religion by award-winning American playwright David Davalos will appeal to anyone looking for the answers to life's big questions.
This third volume of plays by Cherrie Moraga confronts the changing California landscape of the 1990s, as anti-immigrant, anti-youth, and English Only legislation sweeps across the farmworker towns and multi-racial urban communities of the state. Both plays were developed through interviews conducted with residents in the two towns of Watsonville and East Palo Alto. Both towns stand in the shadow of the first world culture of the University: East Palo Alto is a poor neighbour of Stanford University south of San Francisco, while Watsonville, further south, has seen the University of California at Santa Cruz devour the nearby Pacific coastline. These plays document the incursion of the white world of power and authority into poor, racially mixed communities. But they are more than reports of the times. In vividly realised drama, Moraga shows the communities mounting their own bold resistance to cultural domination and the threat of economic enslavement. The indigenous and feminist consciousness of the two communities brings them together to struggle against their oppressors, from within and without.
The notorious Robin Hood and his band of outlaws steal from the rich, creating a fearsome reputation amongst those who dare to travel through the mighty forest of Sherwood. But they do not share their spoils with the poor and are unloved by the people, who must also pay unfair taxes to the evil Prince John as he plots to steal his brother's crown. In this time of chaos and fear, it is down to Marion to boldly protect the poor and convince Robin that he must listen to his heart if they are to save the country. The Heart of Robin Hood, David Farr's spirited new version of the great English legend, was premiered by the RSC at the Royal Shakespeare Theatre, Stratford-upon-Avon in November 2011.
In 1961, Peter and Helen Kroger, two Americans living in a London suburb, were convicted of spying for the Russians and sentenced to twenty years' imprisonment. From these facts Hugh Whitemore has written a powerfully moving fictional account of the events leading up to their arrest with the action centered on the Kroger's totally unsuspecting neighbors.
It's a story that has a beginning, a middle, but as yet, no end. John McGrath's winding, furious, innovative play tracks the economic history and exploitation of the Scottish Highlands from the post-Rebellion suppression of the clans to the story of the Clearances: in the 19th century, aristocratic landowners discovered the profitability of sheep farming, and forced a mass emigration of rural Highlanders, burning their houses in order to make way for the Cheviot sheep. Described by the playwright as having a "ceilidh" format, The Cheviot, the Stag and the Black, Black Oil draws on historical research alongside Gaelic song and the Scots' love of variety and popular entertainment to tell this epic story. A totally distinctive cultural and theatrical phenomenon, the play championed several new approaches to theatre, raising its profile as a means of political intervention; proposing a collective and collaborative approach to creating theatre; offering a language of performance accessible to working-class people; producing theatre in non-purpose-built theatre spaces; breaking down the barrier between audience and performers through interaction; and taking theatre to people who otherwise would not access it. The play received its premiere in 1973 by the agit-prop theatre group 7:84. Methuen Drama's iconic Modern Plays series began in 1959 with the publication of Shelagh Delaney's A Taste of Honey and has grown over six decades to now include more than 1000 plays by some of the best writers from around the world. This new special edition hardback of The Cheviot, the Stag and the Black, Black Oil was published to celebrate 60 years of Methuen Drama's Modern Plays in 2019, chosen by a public vote and features a new foreword by Kate McGrath.
In 2001 South Africa was devestated by the news of a brutal rape of a nine-month-old child who came to be known as baby Tshepang. Once the story of baby Tshepang hit the headlines, the scab was torn off a festering wound. Weaving together 'twenty thousand stories' (the number of reported child rapes in South Africa each year), Tshepang is a play about love, forgiveness and the difficulties of coming to terms with a violation of this magnitude.
The news that a government inspector is due to arrive in a small Russian town sends its bureaucrats into a panicked frenzy. A simple case of mistaken identity exposes the hypocrisy and corruption at the heart of the town in this biting moral satire. David Harrower's version of Nikolai Gogol's Government Inspector premiered at the Warwick Arts Centre in May 2011 and transferred to Young Vic, London in June.
Following the logic of a dream, in which characters merge into each other, locations change in an instant and a locked door becomes an obsessively recurrent image, Strindberg's A Dream Play written in 1902 is an amazing amalgam of Freud, Alice's Wonderland and Strindberg's own private symbolism. As Strindberg himself said, he wanted "to capture the inconsistent yet ostensibly logical structure of a dream. Everything can happen...Time and Place do not exist." Caryl Churchill's spare and resonant new version will premiere at the National Theatre in repertoire from mid-February 2005, coinciding with the big Strindberg exhibition at Tate Modern.
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