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Ingredient X
"I've always said I'll stop just as soon as The X Factor stops. The X Factor stops I stop that's the deal." It's Saturday night and the judges are gathering for their prime-time slot, feeding the nation their weekly fix. Except the harshest critics are sitting on your sofa and the mute button doesn't seem to work. Frank, a recovering drug addict, Katie, his long-suffering wife and Rosanna, their next-door neighbour and X Factor addict, gather for tv and dinner on a Saturday night. The evening begins with football and banter but it soon descends into arguments and revelations. While Frank is a newly recovered addict battling with both his recovery and the suspicions of others, Rosanna festers...
Sweetheart
A well-observed and and knowingly hip script by the writer of Peaches.
Kosher Harry
A new play by one of Britain's most talked about young writers Gathered in a kosher bar in North London are a foulmouthed cabbie, who can't stop blubbing, an old woman in a wheelchair, who hears only what she chooses to, and the world's worst waitress, wearing nothing but her smalls. Joining them is a man with no name who takes them on at their own game. Combining the restraint of Beckett's dialogue with the grotesque world of a Berkoff, Grosso's new play is a sustained black comedy that pushes stereotypes to the absolute limit, and then brings them back to reality again. Published to tie in with the Royal Court production directed by Kathy Burke (of BBC2's GIMME GIMME GIMME) "A truthful, mordant, sex and gender comedy" Evening Standard (PEACHES); "a brisk, brusque, crisply and cruelly funny play" Sunday Times (SWEETHEART); "this swaggeringly funny and slightly sinister story" Sunday Times (REAL CLASSY AFFAIR)
Coming on Strong
Four plays by Royal Court Theatre writers: Essex Girls by Rebecca Pritchard, Peaches by Nick Grosso, The Knocky by Michael Wynne, and Corner Boys by Kevin Coyle.
'Love Me Or Kill Me'
Love Me or Kill Me is the first study of Sarah Kane, the most significant British dramatist in post-war theater. It covers all of Kane's major plays and productions, contains hitherto unpublished material and reviews, and looks at her continuing influence after her tragic early death. Locating the main dramatic sources and features of her work as well as centralizing her place within the 'new wave' of emergent British dramatists in the 1990's, Graham Saunders provides an introduction for those familiar and unfamiliar with her work.
In-Yer-Face Theatre
The most controversial and newsworthy plays of British theatre are a rash of rude, vicious and provocative pieces by a brat pack of twentysomethings whose debuts startled critics and audiences with their heady mix of sex, violence and street-poetry. In-Yer-Face Theatre is the first book to study this exciting outburst of creative self-expression by what in other contexts has been called Generation X, or Thatcher's Children, the 'yoof' who grew up during the last Conservative Government. The book argues that, for example, Trainspotting, Blasted, Mojo and Shopping and F**king are much more than a collection of shock tactics - taken together, they represent a consistent critique of modern life, one which focuses on the problem of violence, the crisis of masculinity and the futility of consumerism. The book contains extensive interviews with playwrights, including Sarah Kane ( Blasted), Mark Ravenhill (Shopping and F**king), Philip Ridley (The Pitchfork Disney), Patrick Marber (Closer) and Martin McDonagh (The Beauty Queen of Leenane).
After In-Yer-Face Theatre
This book revisits In-Yer-Face theatre, an explosive, energetic theatrical movement from the 1990s that introduced the world to playwrights Sarah Kane, Martin McDonagh, Mark Ravenhill, Jez Butterworth, and many others. Split into three sections the book re-examines the era, considers the movement’s influence on international theatre, and considers its lasting effects on contemporary British theatre. The first section offers new readings on works from that time period (Antony Neilson and Mark Ravenhill) as well as challenges myths created by the Royal Court Theatre about the its involvement with In-Yer-Face theatre. The second section discusses the influence of In-Yer-Face on Portuguese, Russian and Australian theater, while the final section discusses the legacy of In-Yer-Face writers as well as their influences on more recent playwrights, including chapters on Philip Ridley, Sarah Kane, Joe Penhall, Martin Crimp, Dennis Kelly, and Verbatim Drama.
Contemporary British and Irish Film Directors
The guide encompasses the careers of over 350 directors from the last 20 years. A must for any film studies library, it is a unique reference to the changing dynamics of these cinemas.
Patrick Marber's Closer
Closer emerged as one of the most successful plays of the 1990s, and one with a continuing afterlife through the academy award nominated film adaptation in 2004. Although the work of dramatists such as Sarah Kane and Mark Ravenhill initially attracted the most critical and academic attention, Patrick Marber's Closer had long West End and Broadway runs. The play has since gone on to repeat this success in over 30 other countries.
Real Classy Affair
A group of twenty-something heterosexual male character live and work in North London and meet regularly down the pub. Lots of banter and sharp boys talk. Then we hear about Stan, still a mate but married. Even worse, and possibly the ultimate sin, he is thinking of moving to South London.
