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Modern readers find it hard to come to terms with the gods in Euripides' dramas. Readers try to dismiss them as a literary convention. Stage productions leave them out, especially in the cases when they appear ex machina. Instead, they place disproportionate emphasis on the harsh criticisms of the gods uttered by some of the characters in the dramas, and have sought to interpret Euripides ironically, viewing his portrayal of the cruel and capricious gods as a means of drawing attention to the deficiencies of ancient Greek religion. In their view Euripides' dramas seek to question the nature and sometimes even the very existence of traditional Greek gods. In Euripides and the Gods, classicist Mary Lefkowitz sets out to show that the tragedian is not undermining ancient religion, but rather describing with a brutal realism what the gods are like, impressing upon his mortal audience the limitations of human understanding. Writing the first extended treatment of these issues for a general audience, Lefkowitz provides a book that deals with all of Euripides' dramas, and argues for a more tolerant and nuanced understanding of ancient Greek religion. Euripides, like Homer, is making a statement about the nature of the world and human life, terrifying but accurate. She explains how the idea that Euripides was an atheist derives from ancient biographies that drew their evidence from comic poets, and shows why the doubts about the gods expressed by his characters must be understood in their dramatic context. Euripides and the Gods offers a compelling invitation to return to the dramatic masterpieces of Euripides with fresh eyes.
Early 1960s, Yorkshire. Farm labourer George is cast in an amateur staging of the York Mystery Plays. His world is shaken when he falls for metropolitan assistant director John and the two men embark on a clandestine affair. Peter Gill's influential play is not only a finely drawn love story; it is also a touching reflection on the rival forces of family, class, and the origins and ownership of art. The York Realist was premiered by the English Touring Theatre at The Lowry, Salford Quays in November 2001; it moved to the Bristol Old Vic that same year and, in 2002, to the Royal Court Theatre, London. The play was revived by the Donmar Warehouse, London, in February 2018. Winner of the London Critics' Circle Award for Best New Play. 'As a love story, The York Realist is riveting and heart-rendering... Gill is always terrifically perceptive about male tenderness. The personal and political are subtly united in a study of English masculinity, class and culture. Such outstanding work.' Independent on Sunday 'Sensationally fine and poignant.' Evening Standard 'It has the Lawrentian qualities of emotional intelligence, raw honesty and fascination with the intersection of class and sex... It is about the way the English, however hard they try, can never finally escape their origins. But, far from being emotionally conservative, it is adventurous, witty and fresh... The play comes like a rare blast of reality.' Guardian
When Eva's parents fail to escape Germany, the child changes her name and begins the process of denial of her roots. It is only when her own daughter discovers some letters in their attic that Eva is forced to confront the truth about the past.
"At the turn of the 20th Century, the great cruise liner Virginia shuttles back and forth across the Atlantic Ocean, transporting passengers from old Europe to the New World. When an abandoned baby is found on board the sailors christen Novecento - 1900. The child is destined to a strange fate. Novecento will never leave the ship as long as he lives, yet he becomes the greatest jazz musician the world would never know. He only knows his music, which has a magical effect on everyone who hears. For six years before World War II, Tim Tooney played trumpet with him and Novecento gave him his story..."
This is a selection of the best plays of Chikamatsu, one of the greatest Japanese dramatists. Master of the marionette and popular dramas, he had, until the publication of this book, remained unknown to western readers owing to the difficulty of translating the work into English. The introduction provides a comprehensive survey of the history of Japanese drama which will assist the reader in better understanding the plays.
Who would have thought a comedy of manners written more than a hundred years ago would still be so apt and so funny? Oscar Wilde was a genius of play-writing, and his deftness, wit and sharp eye for social satire keep audiences in thrall to this day. Alongside Earnest, discover a biblical tragedy retold, Lady Windemere and her infamous fan and Wilde's take on an ideal husband, in this selection of Wilde's most important plays.
One of the most successful plays of recent years, it ran for two years in the West End and transferred to Broadway and toured the UK. In a bar in a remote part of Ireland, the local lads are swapping spooky stories to impress a young woman from Dublin newly moved into the area...'A spellbinder that transfixes you...No praise in fact is too high' Guardian; Dublin Carol; On Christmas Eve, a Dublin undertaker is visited by his estranged daughter who wants him to face up to the past. 'McPherson writes like a dream...The play works an ingenious spell' Daily Mail; Port Authority; Three interwoven lives: a boy leaves home for the first time; a man starts a job for which is unqualified; a pensioner is sent a mysterious package...'Overwhelmingly poignant...desolate, searing eloquence' Evening Standard; Come On Over; A Jesuit priest, sent to investigate a 'miracle' in his home town, reencounters the woman who loved him thirty years before.
Ian has left the priesthood to become a therapist. John is one of his first clients. John's wife has been killed in a car accident, and he keeps seeing her ghost. As John recovers with Ian's help, Ian himself is going under with troubles of his own...Conor McPherson's new play has all the same narrative fascination that made The Weir so gripping, and the same magical ability to portray flawed characters sympathetically, but Shining City is an even more mature piece of work concerned with long-term relationships and the things that can go wrong. Shining City premieres at the Royal Court Theatre, the home of all McPherson's past successes, on the mainstage in July 2004.
A collection of cutting-edge plays from the award-winning author of Penelope, The Walworth Farce and The New Electric Ballroom. Contains: The Ginger Ale Boy (1995), Disco Pigs (1996, George Devine and Steward Parker Awards), misterman (1999), bedbound (2000, Edinburgh Fringe Festival First), The Small Things (2005) and Chatroom (2005).
Right Now by Catherine-Anne Toupin, translated by Christopher Campbell is about Alice. Bereft, a mother without her child. Haunted by the cries of her first-born, whilst dealing with the nosy neighbours next door, Alice struggles to keep a grasp on what's left of her shattered reality. Right Now is a richly drawn portrait of a family coming to terms with their unremitting grief.
Publishers by Currency Press
'We were two weans playing at wee hooses... Now we're both paying the price.' Jack is proud of his work at the Clyde shipyards. His wife, Beanie, who is nursing him through asbestosis, thinks he's a fool. But the real test of their marriage comes when they discover that the dusty overalls Jack brought home for Beanie to wash have poisoned her too. Meanwhile their daughter, Lucy, is struggling; will she be held back by her parents' experience, or will she have the courage to allow romance to blossom with Pete? Fibres is a big-hearted play about what it means to entwine our lives with another. A story told by four resilient, witty Glaswegian characters, the play asks can we ever cut the cords that bind us - and who will catch us if we do? The play toured Scotland in 2019, in a co-production between Stellar Quines Theatre Company and the Citizens Theatre, Glasgow.
It's 1955 and the Pallas Players, an all-female theatre company, are putting on a play: Whisky Galore. They transport us back to 1943 on the Scottish islands of Great and Little Todday, where the whisky supply has dried up because of the war, leaving tensions running high. Relief seems to be at hand when a ship carrying 50,000 bottles of whisky is wrecked just offshore. Then it's every thirsty man for himself as the islanders try to rescue as many bottles as possible before stuffy Captain Waggett of the Home Guard can put a stop to their fun. Philip Goulding's stage adaptation of Compton Mackenzie's comedy classic is a tribute to the feisty all-female touring theatre companies of the post-war years. First performed in a touring production by Oldham Coliseum Theatre, Hull Truck Theatre and New Vic Theatre, Whisky Galore combines rollicking physical theatre, panto and farce, with an array of hilarious characters for any female-led theatre company.
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 specifically suited to auditioning. The monologs in this collection are for actors 15 to 30 years of age, suitable for competitive auditioning, class or studio work, or general reading. About two-thirds of the selections are for women, and about one-third are specifically 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-seven contemporary American playwrights. A must for any auditioning actor or theatre student. Featuring monologs from: Retro and Sea of Forms by Megan Terry, Voice of the Prairie by John Olive, Night Luster by Laura Harrington, Stuck by Adele Edling Shank, Punk Girls by Elizabeth Wong, Sunday Sermon by David Henry Hwang, Abingdon Square by Maria Irene Formes, Les Trois Dumas by Charles Smith, Prodigal Kiss by Caridad Svich, Rough Stock by Ric Averill and many more.
After the death of her sister is left unresolved, Esther is broken and alone. Searching for closure, she is increasingly drawn to the disturbing world of Keith. As their relationship progresses, the two spin webs of trickery and deceit ' but who is the spider, and who is the fly Can either of them escape their shared past And will they emerge unscathed John Webber's Spiderfly is a taut, thrilling debut play. It is premiered at Theatre503, London, in November 2019.
No one in the middle of being in love ever sat down to write a love story. It's only after the belongings are sorted and the shirts returned that the pencils are sharpened and the notebooks opened. So, in a serious way, love stories are never love stories. Love is their inspiration, yes, but the end of love is the reason for their existence. This is a problem. It proposes anti-journeys where we saw only journeys, directs things toward a new negative we hadn't intended. The Flu Season tries to be a love story, anyway. It has a strategy. The play revels in it's ambivalence, lives in fits and starts, and derives a flailing energy from its doubts about itself. But these come at a price, which is paid by the characters in the play. A kind of clarity finally comes. In the end, is the end.
Judith is on remand suspected of killing her mother. From the moment the police came to question her she has not spoken. Alex, a child psychiatrist with experience of mutism is called in as a last resort to make a psychiatric assessment. He battles against her silence until at last he breaks the dam. The woman speaks directly to another human being for perhaps the first time in her life. An extraordinary story is revealed, and a relationship forged. The Cutting was nominated for the London Fringe Awards (Best First Play) and the London Evening Standard Awards.
1905, New York City. Esther, a black seamstress, sews exquisite lingerie for clients who range from wealthy white patrons to prostitutes. She has saved enough to allow her to dream of one day opening a beauty salon for black women, and at thirty-five years old, longs for a husband and a future. When she begins to receive beautiful letters from a lonesome Caribbean man who is working on the Panama Canal, it looks like life may be about to take a different course. Intimate Apparel won the New York Drama Critics' Circle Award for Best Play when it first opened in the USA in 2004. It received its UK premiere at the Theatre Royal Bath, before transferring to the Park Theatre, London, in 2014.
In Australia, Gerry hopes to meet his mother for the first time. Despite being almost sixty, he has spent his whole life believing he's an orphan. In Liverpool, Mary brews a good, strong pot of tea. Nothing posh. But she's as nervous as a pig at a butcher's. Determined to uncover his past, Gerry and his daughter Sally embark on an extraordinary journey home - halfway across the world - in a precarious bid to bring their family together. Through a program created by the British Government and eagerly supported by an Australia in the throes of its 'White Australia' policy, between 1945 and 1968 over three thousand British children were told they were orphans and sent to Australia on a promise of warmth, fresh air, abundant food and opportunity. Instead they arrived to deprived institutions where neglect and abuse were the norm. Tom Holloway's tender new play unearths a secret buried by time that, in turn, exposes a world of historical injustices currently in the limelight.
'I think it's queer. And it's about to get queerer...' Edward II wanders on to the empty stage, bloodied and confused. He has no idea where he is, or how he got here, but he does have an ominous feeling that something is wrong. As that feeling grows, so too does the threat on the other side of the auditorium doors. Edward finds himself locked inside the theatre with some rather anarchic fellow inmates: Gertrude Stein, Harvey Milk and Quentin Crisp. As they set about unravelling what has happened, only one thing is certain: everything is not as it seems... A daring new play written specifically for the Sam Wanamaker Playhouse in response to Christopher Marlowe's Edward II, After Edward welcomes us into a chaotic world of pride and shame, with moments of elation, outrageous humour and heart-breaking tenderness. Oh, and Maggie Thatcher. In a play that reminds us of the power of theatre to provoke recognition and reflection, this is Edward II as you've never seen him before.
Patrick Barlow's Olivier Award winning stage adaptation, based on John Buchan's gripping whodunit - memorably filmed by Alfred Hitchcock in 1935 - is now in its seventh year at the Criterion Theatre in the West End. Nothing has been cut from this hilarious and spectacular version of Britain's most spell-binding thriller - legendary scenes include the chase on the Flying Scotsman, the escape on the Forth Bridge, the first theatrical bi-plane crash ever staged and the death-defying (or nearly ) finale at the London Palladium With four actors playing a minimum of one hundred and thirty-nine roles, it's the most astonishing theatrical tour de force of the year.
Kay Harker is heading home for the school holidays. Recently orphaned, he knows this Christmas will be different but nothing could prepare him for the journey that lies ahead. On the train he meets an old magician, Cole Hawlings, who charges Kay with safeguarding a wondrous device that has time-travelling powers. It's an instrument that Cole's nemesis, the wicked sorcerer Abner Brown, will stop at nothing to steal for himself. And so when the old man mysteriously disappears, Kay faces the fight of his life. He must protect both the Box of Delights and, with it, the people he loves. The Box of Delights is a magical and festive adventure in which one boy must confront the secrets of the past to defeat the evil in his present. The future of Christmas itself depends upon him. Adapted for the stage for the first time by Piers Today, John Masefield's much-loved classic The Box of Delights premiered at Wilton's Music Hall in December 2017. 'One of the greatest children's books ever written.' The Times
A girl sits on a sofa, not knowing what to do with herself. She argues with her mother and envies her older sister. She also longs for her absent father, a seaman. A middle-aged woman paints a portrait of herself as a young girl, sitting on a sofa, but she's beginning to doubt her artistic ability. Still at odds with her sister and her mother and haunted by her dead father, she's unable to shake the continuing presence of the past in her life -
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