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A Girl in School Uniform (Walks Into a Bar)
It's the future. But only slightly. There are blackouts. No one knows what's causing them, but that doesn't stop people going missing in them. Now Steph and Bell, a schoolgirl and barmaid, have to search for their missing friend, until the outside world starts infecting the theatre that stands around them. Schoolgirl Steph walks into the seedy, empty bar where Bell works. Bell is dressed with everything short and low, and there are no longer any regulars at her bar. Whatever has happened to create this dystopian world remains a mystery, but we learn that there are frequent blackouts, people regularly go missing and women are being killed. Steph is looking for her friend Charlotte, a girl who...
Nothing
In Nothing eight young people - including a Vandal, a Stalker and a Porn Girl - recount their experiences, capturing the apathy rampant in today's youth. Yet Nothing is much more than a series of monologues. It is about - among other things - cupcakes, action films, crap television, shitting, sex, buses and stalking. It is about alienation and being young. Initially written as eight monologues by Lulu Raczka (winner of the Sunday Times Young Playwriting Award), Nothing asks questions about the nature of theatre itself. In its original production by Barrel Organ Theatre the performers improvised a new cut with every performance, each starting the show without knowing which particular monologue they would be performing on that occasion. Nothing is thus a game for both performer and audience, but it is also a serious interrogation of the structures within which we live.
Women, Beware the Devil
This may be the biggest But it is far from the first sacrifice I've made for this house And I'm sure it won't be the last But don't fret. I'm ready. England, 1640. A war is brewing. Rumours are flying. A household is in crisis... and the Devil's having some fun. For Lady Elizabeth, nothing is more important than protecting her family's legacy and their ancestral home. When that comes under threat, she elicits the help of Agnes, a young servant suspected of witchcraft. But Agnes has dark dreams of her own for this house. Women, Beware the Devil is a deadly new play of treachery and trickery by The Sunday Times Playwriting Award-winner Lulu Raczka, author of Antigone and Nothing. This edition was published to coincide with the world premiere at the Almeida Theatre, London, in February 2023.
Antigone
The war is over. The dead have been buried. The traitors have been punished. People feel more alive than they have in a long time. They are ready to start again. But Antigone is not. She will not move on, and she will not forget. She will drag everyone back if she has to. Lulu Raczka's searing adaptation of Sophocles' classic text hands the reins to the young women at its heart, creating something messy, irreverent and vital.
Some People Talk About Violence
“There is no use in rage. There is no use in screaming. There is no use in crying out and screaming ‘this is unfair’, just wait, cause no one cares.” In a world of globalization and greed, of zero-hour contracts and The Big Bang Theory, violence worms its way into every aspect of our lives. Following their debut show Nothing, multi award-winning young company Barrel Organ present Some People Talk About Violence. Expect people, or just ideas, in mindless frustration, on the edge of some kind of revolt.
The Iphigenia Quartet
Agamemnon must sacrifice his daughter, Clytemnestra must try to stop him, Iphigenia must accept her fate, the Chorus must watch. Ships lie dormant in harbours, and thousands of troops sit on the shore, growing restless and unruly. Helen is gone, and pursuit of her has been stalled by windless seas. To raise the winds to send his fleet to Troy, Agamemnon is commanded by the gods to sacrifice his daughter, Iphigenia. But his deceit of his wife, Clytemnestra and the killing of his child, will end up tearing him and everything around him to pieces. Euripides’ story of a father moved to murder his daughter, Iphigenia at Aulis, is one that has been reinvented and retold anew throughout history. The Iphigenia Quartet sees four of the UK’s most exciting and radical playwrights - Caroline Bird, Suhayla El Bushra, Lulu Raczka, and Chris Thorpe – create explosive responses to this classical tragedy. Each play is a reimagining this story of familial catastrophe from the differing perspectives of the key characters in the play: Agamemnon, Clytemnestra, Iphigenia and the Chorus.
Madness in Contemporary British Theatre
This book considers the representation of madness in contemporary British theatre, examining the rich relationship between performance and mental health, and questioning how theatre can potentially challenge dominant understandings of mental health. Carefully, it suggests what it means to represent madness in theatre, and the avenues through which such representations can become radical, whereby theatre can act as a site of resistance. Engaging with the heterogeneity of madness, each chapter covers different attributes and logics, including: the constitution and institutional structures of the contemporary asylum; the cultural idioms behind hallucination; the means by which suicide is apprehended and approached; how testimony of the mad person is interpreted and encountered. As a study that interrogates a wide range of British theatre across the past 30 years, and includes a theoretical interrogation of the politics of madness, this is a crucial work for any student or researcher, across disciplines, considering the politics of madness and its relationship to performance.
Adapting Greek Tragedy
Shows how contemporary adaptations, on the stage and on the page, can breathe new life into Greek tragedy.
Text and Performance in Contemporary British Theatre
Text and Performance in Contemporary British Theatre interrogates the paradoxical nature of theatre texts, which have been understood both as separate literary objects in their own right and as material for performance. Drawing on analysis of contemporary practitioners who are working creatively with text, the book re-examines the relationship between text and performance within the specific context of British theatre. The chapters discuss a wide range of theatre-makers creating work in the UK from the 1990s onwards, from playwrights like Tim Crouch and Jasmine Lee-Jones to companies including Action Hero and RashDash. In doing so, the book addresses issues such as theatrical authorship, art...
Invisible Lines
'Invisible Lines is a fascinating, detailed exploration of the hidden boundaries that carve up the world.' Telegraph 'A fascinating book ... a truly original adventure into new ways of exploring what we mean by a sense of place.' Simon Jenkins 'A fascinating exploration of the lesser-known and more subtle borders across the earth and the surprising ways in which they shape our lives.' i news Our world has innumerable boundaries, ranging from the obvious - like an ocean - to subtle differences in language or climate. Most of us cross invisible lines all the time, but don't stop to consider them. In Invisible Lines, geographer Maxim Samson presents 30 such unseen boundaries, intriguing and une...
