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Callisto: A Queer Epic
Callisto is a swirling constellation of remarkable queer stories, weaving together four stories of same-sex relationships from across the ages. Hurtle across time and space with this scintillating and extraordinary new play. launching from a 17th-century opera house through cislunar space and into the distant future, Callisto tells four stories that have nothing and everything in common. In London, 1680, opera star Arabella Hunt has secretly entered into the first recorded gay marriage in UK history. In Worcester, 1936, Alan Turing pays one final visit to Isobel Morcom, mother of his lost first love, Christopher. In the San Fernando Valley, 1979, Tammy Frazer arrives at Callisto Pornographic Studios, searching for the love of her life. And on the Moon, 2223, Lorn is building a paradise to sleep in, but his A.I. companion Cal is determined to keep him awake. These love stories are both poignant and comic - a bright constellation of queer encounters. Callisto premiered at The Pleasance Dome at the Edinburgh Festival in 2016 and transferred to the Arcola Theatre, London.
Rethinking Lyric Communities
In contemporary Western societies, lyric poetry is often considered an elitist or solipsistic literary genre. Yet a closer look at its history reveals that lyric has always been intertwined with the politics of community formation, from the imagining of national and transnational discursive communities, to the use of poetry in episodes of collective action, protest, and social resistance. Poetic forms have circulated between languages and traditions from around the world and across time. But how does lyric poetry address or even create communities — and of what kinds? This volume takes a global perspective to investigate poetic communities in dialogue with recent developments in lyric theory and concepts of community. In doing so, it explores both the political potentialities and the perils of lyric poetry.
Economic Microfoundations of Strategic Management
This book develops a property rights approach to firm strategy and demonstrates how it helps address key challenges in strategic management research. It shows that the property rights approach holds important implications both for entrepreneurship and organizational learning theory. Property rights have direct implications for strategic management, as control over assets has an immediate link to the creation and appropriation of economic value. For a firm to execute a competitive strategy, it must hold rights to appropriate resources. This book will appeal to scholars working in the fields of strategic management, organizational theory and resource allocation. It is an invaluable summary of two decades of groundbreaking research.
Mrs Dalloway
This adaptation of Virginia Woolf's novel asks the audience to reflect on how we become who we are, and on how we judge others. On a single day in 1920s London, we delve deep into the life of Clarissa Dalloway, as she prepares to throw a party for her high-society friends and members of the Government. We hear her interior monologue, her thoughts on others, and her reflection on her own place in this higher strata of society. In the same city, a very different story unfolds. First world war veteran Septimus Warren Smith, suffering from shell-shock and emotionally distanced from his wife, seeks help from the ruling class that Clarissa entertains. This adaptation opened at the Arcola Theatre, London in 2018 and used a cast of five. It was staged in an experimental way, to convey the intricacies of the novel and capture the characters' stream-of-consciousness. It is a fast-paced, dynamic take on Virginia Woolf's classic tale.
We Were Promised Honey!
The show that we're about to do is a story about the future. The story that we're going to tell is the story of us; the story of our future. It's a story that we are going to tell together. I hope that sounds okay. From the makers of Five Encounters on a Site Called Craigslist and the accident did not take place comes an act of communal storytelling. There's a baby born in a lighthouse, a man on fire in the middle of the desert, two lovers reunited in a ruined city, there's a dying spaceship on the edge of a black hole. we were promised honey! is a hopeful, hopeless prophecy for humankind. A meditation on inevitability, despair and how we tell a story when we already know the end. This new edition includes a foreword written by Katie Hawthorne. This edition was published to coincide with the production at London's Soho Theatre in November 2022, following a successful run at Edinburgh Fringe 2022.
New Poetries VIII
A Poetry Book Society Spring 2021 Special Commendation. Edited by Michael Schmidt and John McAuliffe, this is the latest in Carcanet's celebrated introductory anthology series presenting work by two dozen poets writing in English from around the world. Jason Allen-Paisant, Chad Campbell, Conor Cleary, Hal Coase, Jade Cuttle, Jennifer Edgecombe, Charlotte Eichler, Suzannah V. Evans, Parwana Fayyaz, Maryam Hessavi, Holly Hopkins, Rebecca Hurst, Victoria Kennefick, Jenny King, Joseph Minden, Benjamin Nehammer, Stav Poleg, Nell Prince, Padraig Regan, Tristram Fane Saunders, Colm Tóibín, Joe Carrick-Varty, Christine Roseeta Walker, and Isobel Williams.
Five Encounters on a Site Called Craigslist
Desperately hilarious and achingly bleak, this is an intricate and tender question mark around our attempts to encounter each other in a technologized world. Sam wants to tell you about five encounters he had on a site called Craigslist. Sam is anxious about the way he gets to know people. About the way he self-sabotages his attempts to communicate and reach out to those around him. Sam wants this to be a chance for you to get to know him.
The accident did not take place
Somewhere on the other side of the world, a plane is falling from the sky. You can see it on your laptop. You can watch it happening on YouTube. You can hit rewind and watch it burning on repeat. Combining play text with experimental book design, the accident did not take place is a hyper-real exploration of the way we consume information, and the way information consumes us; a frenetic, head-on collision with a world thoroughly mediated by screens, a world possessed with post-truth hysteria, a world yearning for contact with those who seem so far away.
In Lipstick
Things don't change no matter how much you want them to. You try, you run away, you make things new but they're not. It's just the same old shit covered in lipstick. Maud, a woman on the run from her damaged past, has sheltered Cynthia from the outside world for the last few years. But while Cynthia is a recluse, living for their dressing-up box, their fairy tales and Shirley Bassey on YouTube, Maud meets Dennis, a security guard at her office. As Cynthia clings, Maud begins to dream of escaping their isolated and claustrophobic world. Annie Jenkins' debut play In Lipstick gives savage, funny and heartfelt voice to two women trapped in a fractured city, not quite knowing how to love each other.
