‘Look what you have to do to make them like you’ Suzie, Edwina and Lucy have moved to a new school in a new town. Three very different sisters who will do anything to fit in and yet are desperate to be noticed. But how far will they go to break out of the roles in which they’ve been cast and will they ever be able to truly change their lives when they’re swimming against the tide?
‘Your appeal is that you look piss ordinary. You’re not ugly and you’re not a Kardashian. You look like a normal person. A normal person that makes porn ...’ Nicola Barker is in trouble. A video has been made, and she is the unwitting star. In a bid to stop the footage being used against her, Nicola makes a snap decision: to post it online herself. What started as a drunken night in a dirty club ends with a unique business opportunity for Nicola and her two sisters, changing the meaning of ‘amateur porn’ forever. A darkly comic new play from the writer/director team behind A First World Problem, this is a blistering study of our attitudes to porn, and the women who make it for themselves.
Meet Leah and Chris; raised on Harry Potter, New Labour and a belief that one day they would be as ‘special’ as their parents promised. But what happens when those dreams don’t become reality? All We Ever Wanted Was Everything is a three-act anthem set across three decades, from 1997’s Cool Britannia to 2007’s Broken Britain and 2017’s Brexit Britain. It’s about the world we inherited and the one we’re leaving behind. It’s a gig that tells a story of a million beating hearts and an asteroid with other plans. Download a free EP of music from the show, by James Frewer with Alice Beaumont, from warrenrecordsuk.bandcamp.com
Edited, Introduced and Annotated by Cedric Watts, Professor of English Literature, University of Sussex. The Wordsworth Classics’ Shakespeare Series, with Romeo and Juliet, Henry V and The Merchant of Venice as its inaugural volumes, presents a newly-edited sequence of William Shakespeare’s works. The textual editing takes account of recent scholarship while giving the material a careful reappraisal. Its lyricism, comedy (both broad and subtle) and magical transformations have long made A Midsummer Night’s Dream one of the most popular of Shakespeare’s works. The supernatural and the mundane, the illusory and the substantial, are all shimmeringly blended. Love is treated as tragic, poignant, absurd and farcical. ‘Lord, what fools these mortals be!’, jeers Robin Goodfellow; but the joke may be on him and on his master Oberon when Bottom the weaver, his head transformed into that of an ass, is embraced by the voluptuously amorous Titania. Recent stage-productions of A Midsummer Night’s Dream have emphasised the enchanting, spectacular, ambiguous and erotically joyous aspects of this magical drama which culminates in a multiple celebration of marriage.