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The New Wave of British Women Playwrights
It is a fact that today’s British stages resound with powerfully innovative voices and that, very often, these voices have been those of young women playwrights. This collection of essays gives visibility and pride of place to these fascinating voices by exploring the vitality, inventiveness and particularly strong relevance of these poetics. These women playwrights sometimes invent radically new forms and sometimes experiment with conventional ones in fresh and unexpected ways, as for example when they re-energize naturalism and provide it with new missions. The plays that are addressed are all concerned with the necessity to grasp the complexity of the contemporary world and to further investigate what it means to be human. Intimate or epic, and sometimes both at once, visionary or closer to everyday life, these plays approach the contemporary world through a multitude of prisms – historical, scientific, political and poetic – and open different and visionary perspectives.
Mary's Babies
Based on the true story of Mary Barton and the Barton Brood and researched through surveys and interviews, this provocative, funny, and fascinating work imagines a series of encounters between these unknowing half-siblings.
F*ck You Pay Me
An evening of shameless entertainment, of divine feminine fury. A burial of preconceptions, a night of Sex-Witch Anarchy. Featuring a live score and nightly special guests, Joana Nastari's award-winning debut F*ck You Pay Me is a love letter to strippers and a surreal collision of comedy, poetry and live music exploring power, money and sisterhood.
Martine
The Great War is over. It is the summer of 1920, in rural France. By a dusty road, a girl is sitting under the shade of an apple tree. She sees someone walking towards her. He is a young man, just back from fighting in Syria. He joins her under the tree, and a tragic love story begins. Often compared to Chekhov, and much admired by Harold Pinter, Jean-Jacques Bernard creates a unique emotional landscape of beauty and longing, desire and disappointment. Martine was written in 1922 and John Fowles wrote this translation for a revival at the National Theatre in 1985.
The Cherry Orchard
Weird isn't it. Years of the same old thing and then suddenly, without warning, tomorrow is a stranger. An old starship. Far from Earth. Prema Ramesh, the ship's grieving commander, seeks solace in the sacred mission of her ancestors: leading the remnants of humanity towards the Destination. A bountiful world on which their descendants will one day thrive. But after centuries in the void, the creaking vessel is falling apart, its crew is suffering. What good is a promised paradise when the present is unbearable? So when rumour spreads of another viable, much closer planet, the crew begin to dream of different possibilities. It could all end now. A new future beckons. But first the old structures must crumble. They won't fall without a fight. A playful adaptation of Chekhov's tragicomic final work. Joy in the infinite, loss on a galactic scale, small lives and great ambitions adrift in the cosmos. This edition is published to coincide with the world premiere at the Yard Theatre, London, in September 2022. A The Yard Theatre, ETT and HOME Manchester production, co-commissioned by The Yard Theatre and ETT.
New French Plays
Five recent plays presented at the French Theatre Season, London "Agnes", Catherine Anne; "Le Renaud du Nord", Noelle Renaud; "Mickey La Torche", Natacha de Pontcharra; "Une Envie de Tuer sur le Bout de la Langue", Xavier Durringer; and "Encore une Annee pour Rien", Christopher Pellet.
Staging Systemic Violence
This study offers a historicization of the 2010s in British theatre with a focus on the representation of systemic violence, exploring productions that engage with concerns of protest, climate crisis, neoliberalism, racism and gender-based violence. It offers a range of case studies from established and emergent playwrights such as Caryl Churchill, Martin McDonagh, Anders Lustgarten, Lucy Kirkwood, Ella Hickson, Jasmine Lee-Jones, debbie tucker green, Zinnie Harris, and Travis Alabanza. Productions of their work in the 2010s are analysed through a framework of cultural theory, philosophy, and theatre and performance studies that offer insightful conceptions of violence and performativity. Central to this book is the belief that theatre has the ability to depict issues of systemic violence in thoughtful and valuable ways, drawing on the medium's specific relations between creatives, texts, spectatorship and audiences to mindfully engage participants in the most pressing societal and cultural concerns of their time.
A Hundred Words for Snow
A monologue play depicting a teenage girl's solo journey to the North Pole with her father's ashes.
21 Miles
'This book will help so many people' Positive Fertility An Outdoor Swimming Society Book of the Year 2018 After a decade of trying and failing to become a mother, Jessica Hepburn knew it was time to do something different. So she decided to swim twenty-one miles across the English Channel – no easy feat, especially for someone who couldn't swim very well. As the punishing training schedule commenced, Jessica learned you need to put on weight to stave off the cold. This gave her the idea to meet and eat with a collection of inspiring women, and ask them: does motherhood make you happy? From baronesses and professors to award-winners and record-breakers, each of the women had compelling truths to tell about fulfilment and the meaning of motherhood.
When Scotland Was Jewish
The popular image of Scotland is dominated by widely recognized elements of Celtic culture. But a significant non-Celtic influence on Scotland's history has been largely ignored for centuries? This book argues that much of Scotland's history and culture from 1100 forward is Jewish. The authors provide evidence that many of the national heroes, villains, rulers, nobles, traders, merchants, bishops, guild members, burgesses, and ministers of Scotland were of Jewish descent, their ancestors originating in France and Spain. Much of the traditional historical account of Scotland, it is proposed, rests on fundamental interpretive errors, perpetuated in order to affirm Scotland's identity as a Celtic, Christian society. A more accurate and profound understanding of Scottish history has thus been buried. The authors' wide-ranging research includes examination of census records, archaeological artifacts, castle carvings, cemetery inscriptions, religious seals, coinage, burgess and guild member rolls, noble genealogies, family crests, portraiture, and geographic place names.
