High in the Caucasus at the ends of the earth, Prometheus is chained to a rock with a bolt through his chest. He talks of a secret that should not be told for fear of its power being lost. This secret is so important that its secrecy could be our salvation. Prometheus Bound is a play veiled in myth, but as unearthly as the play seems it presents the human condition in a more uncomfortably naked state than any other play. Linguistically and thematically it is the most sophisticated and brutal of all the tragedies. On the page it invites deep analysis but on its feet it becomes the very thing that theatre should be: a journey to the heart.
Lette thought he was normal. When the extent of his ugliness is revealed he turns to a plastic surgeon for help. But after the bandages come off, Lette soon learns that there is such a thing as too beautiful. The Ugly One is a scalpel-sharp comedy on beauty, identity and getting ahead in life. The play is published as a programme text edition to coincide with its British premiere at the Royal Court Theatre, London, on 13 September 2007.
Etonians aren't exactly noted for their grey matter, but I've always found them perfectly adjusted to society. Jack, a possible paranoid schizophrenic with a Messiah complex, inherits the title of the 14th Earl of Gurney after his father passes away in a bizarre accident. Singularly unsuited to a life in the upper echelons of elite society, Jack finds himself at the centre of a ruthless power struggle as his scheming family strives to uphold their reputation. Bubbling with acerbic wit and feverish energy, Olivier Award-winning and Oscar-nominated-writer Peter Barnes's razor-sharp satire combines a ferocious mix of hilarity and horror whilst mercilessly exposing the foibles of the English nobility. This edition of the play is published to coincide with the first-ever revival of this classic cult comedy at the Trafalgar Studios, London, on 16 January 2015.
In their mock Georgian house on an exclusive estate, Rob and Hattie are preparing Sunday lunch for friends and neighbours - but all is not going to plan. Their seemingly cosy world of comfort and safety is about to explode.
Deema is a good daughter and a loving sister. It's her family that's the problem. In their back garden in Birmingham, her mum Zainab is nurturing plants from Kashmir and her dad Rafique is day-dreaming of million-pound homes in the Cotswolds. Meanwhile, out on the streets, her mixed up brother Tariq is rapidly going from bad to worse. She's doing her best to hold it all together, but it's time for them to learn a few home truths. Deadeye paints a fresh and uncompromising portrait of modern life, exposing the misunderstandings and hypocrisies that divide the generations. It opened at The Door, Birmingham Repertory Theatre, in October 2006 followed by a UK tour, in a production by Kali Theatre.
'Get, I'm getting outta here, man, I'm getting outta here, the lines getting blurred - it's blurred - that line between normality and madness is muffled... and rah, I'm getting urges, brov.' Welcome to the world's most unusual talent contest. Behind the scenes, competitors are laughing and brawling, parading their hopes and fears in front of each other, their loves and losses. But there's a bigger fight to be had on stage: who's going to win? The black, the yellow or the brown guy? This hilariously biting satire by Nathaniel Martello-White, directed by Young Vic Artistic Director, David Lan, exposes the highs and lows of making it as a black actor - a 'blackta'.
On her release from prison, Lorraine heads straight to Marie's. On the inside they used to share everything, but the friendship that once protected them now threatens to smother the fragile freedom they have found. A tender portrayal of two women trying to start again, This Wide Night premiered by Clean Break at Soho Theatre before a national tour of theatres and women's prisons. Clean Break is a theatre, education and new writing company, working with women whose lives have been affected by the criminal justice system.
Published to accompany the Collaborators exhibition, the catalogue of Design for Performance is a celebration of the richness and diversity of work made between 2003 - 2007 by designers born or based in the UK. Opera, dance, drama, performance/installations and the design of theatre space are included here and accompanied by five essays written by, or from interviews with, notable British designers in which they reflect on their own collaborative process.
I had a constant battle to get where I am today. Scrimping and scraping, people telling me not to do it, I couldn't do it. That my life wouldn't amount to very much. Now I might have had a bit of natural talent but I got here because of pure determination and persistence. Stubbornness you might say. I always went that extra mile, pushed myself that bit harder than anyone else and never took anything for granted. It was 1954 when Beryl Charnock met keen cyclist Charlie Burton. In those days they cycled in clubs and once Beryl started she was smitten, not only with Charlie, but by the thrill and freedom found on two wheels. Beryl was better than good, she was the best, and she was determined to stay that way. Beryl Burton was five times world-pursuit champion, thirteen times national champion, twice road-racing world champion and twelve times national champion. Her accolades include time trials, former world-record holder, former British record-holder, numerous sports awards an MBE and an OBE. Burton was one of the most astonishing sports people ever to have lived, but she remains something of a mystery. Beryl, which celebrates the extraordinary sporting achievements of this inspirational cyclist, has been specially commissioned as an adaptation from Maxine Peake's acclaimed 2012 Radio 4 play and marks her stage-writing debut. It received its world premiere on 30 June 2014 at the West Yorkshire Playhouse in the Courtyard Theatre.
Here is a book written primarily for playgoers. Looking closely at eighteen plays, Anthony Dawson examines key decisions that actors and directors have to make, and shows how different interpretations flow from these decisions. His aim is to make audiences more aware of the multiple possibilities that a Shakespearean text provides, and hence better able to assess particular productions. Using frequent and extensive illustration from the modern theatre, he argues that contradiction and creative inconsistency are marks of Shakespeare's plays and that productions usually work best when they embrace opposition and strive for balance, rather than when they adopt one-sided readings or suppress elements that don't fit a particular concept.