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  Cymbeline King of Britain

  William Shakespeare

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  Cymbeline, also known as The Tragedie of Cymbeline or Cymbeline, King of Britain, is a play by William Shakespeare set in Ancient Britain (c. 10–14)[a] and based on legends that formed part of the Matter of Britain concerning the early Celtic British King Cunobeline. Although listed as a tragedy in the First Folio, modern critics often classify Cymbeline as a romance or even a comedy. Like Othello and The Winter's Tale, it deals with the themes of innocence and jealousy. While the precise date of composition remains unknown, the play was certainly produced as early as 1611.
  Cymbeline, the Roman Empire's vassal king of Britain, once had two sons, Guiderius and Arvirargus, but they were stolen twenty years earlier as infants by an exiled traitor named Belarius. Cymbeline discovers that his only child left, his daughter Imogen (or Innogen), has secretly married her lover Posthumus Leonatus, a member of Cymbeline's court. The lovers have exchanged jewellery as tokens: Imogen with a bracelet, and Posthumus with a ring. Cymbeline dismisses the marriage and banishes Posthumus since Imogen — as Cymbeline's only child — must produce a fully royal-blooded heir to succeed to the British throne. In the meantime, Cymbeline's Queen is conspiring to have Cloten (her cloddish and arrogant son by an earlier marriage) married to Imogen to secure her bloodline. The Queen is also plotting to murder both Imogen and Cymbeline, procuring what she believes to be deadly poison from the court doctor. The doctor, Cornelius, is suspicious and switches the poison with a harmless sleeping potion. The Queen passes the "poison" along to Pisanio, Posthumus and Imogen's loving servant — the latter is led to believe it is a medicinal drug. No longer able to be with her banished Posthumus, Imogen secludes herself in her chambers, away from Cloten's aggressive advances.
  Although the play is named Julius Caesar, Brutus speaks more than four times as many lines as the title character; and the central psychological drama of the play focuses on Brutus' struggle between the conflicting demands of honour, patriotism, and friendship. 
  Among the most significant works William Shakespeare: Hamlet, Othello, King Lear, Macbeth, Orpheus, Romeo and Juliet, Julius Caesar, Troilus and Cressida, The Tempest, Venus and Adonis, Antony and Cleopatra, Measure for Measure, The Winter's Tale and many more.

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  Short Poetry Collection 086

  Various Various

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  This is a collection of poems read by LibriVox volunteers for the month of February 2010.

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  The Poetry of April

  Wilfred Owen, Robert Louis...

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  APRIL - the fourth month of the year in the Gregorian calendar heralds Spring in earnest and of course April Showers and perhaps other unsettled weather.  For out poets including Owen, Stevenson, Van Dyke, Hardy and Shelley the month provides a rich source for them to muse upon.  Among our readers are Richard Mitchley and Ghizela Rowe. The tracks are; April - An Introduction; An April Fool By Alfred Austin; Child's Talk In April By Christina Georgina Rossetti; An April Day By Henry Wadsworth Longfellow; Love Like An April Day Beguiles By James Bland Burgess; The Famous Speech Maker Of England Or Baron Lovel's Charge At The Assizes At Exon April 5th 1710 By Jonathan Swift; An April Love By Alfred Austin; April By Sara Teasdale; My April Lady By Henry Van Dyke; April 1844 By Henry Alford; Elegy In April and September By Wilfred Owen; Home Thoughts From Abroad By Robert Browning; Rome - Building A New Street in The Ancient Quarter, April 1887 By Thomas Hardy; Over The Lands In April By Robert Louis Stevenson; Stanzas April 1814 By Shelley; On A Nightingale In April By William Sharpe; Here By The Brimming April Streams By Phillip Savage; The Idlers Calendar - April - Trout Fishing By William Scawen Blunt; April By John Bannister Tabb; Sonnet To April By Henry Kirk White; A Petition To April, Written During Sickness By Susanna Blamire; It Was An April Morning Fresh And Clear By William Wordsworth; The Soul Of April By Bliss William Carman; April Evening, France, April 1916 By John William Streets; Under The April Moon By Bliss William Carman; April By Algernon Charles Swinburne.

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  This Must Be the Place (NHB...

  Brad Birch, Kenny Emson

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  This Must Be the Place is a play comprising two short ballads about migration, missed connections, and life on the edge of respectability.
  Two friends, fugitives from their problems, try and start again in the big smoke but find themselves waiting on the margins still. A man in the midst of crisis tries for a clean break from technology, connectivity and the pressures of city life.
  Brad Birch and Kenny Emson's This Must Be the Place was first performed at Latitude Festival in July 2016, before transferring to the 2017 VAULT Festival, London, where it was named Show of the Year.
  'A very modern tale of very modern detachment, written with humour and vigour... observant, angry, compelling, oh, and it's funny too. Very funny.' - LondonTheatre1
  'A dynamic piece of new writing… freshly biting and crisply unsentimental' - Exeunt Magazine

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  Lady Windermere's Fan

  Oscar Wilde

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  The irreverent satire that launched Wilde’s succession of classical comedies. A Lord, his wife, her admirer and an infamous blackmailer converge in this delicious comic feast of scandal. A divinely funny comedy of good girls, bad husbands and the moral hypocrisy of British high society in the late nineteenth century.An L.A. Theatre Works full-cast performance featuring:Gina Field as Lady Agatha CarlisleJudy Geeson as Lady PlymdaleJoanna Going as Lady WindermereArthur Hanket as Mr. Cecil GrahamLisa Harrow as Mrs. ErlynneDominic Keating as Mr. HopperMiriam Margolyes as The Duchess of BerwickRoger Rees as Lord WindermereEric Stoltz as Lord DarlingtonJames Warwick as Lord Augustus LortonTom Wheatley as ParkerDirected by Michael Hackett. Recorded before a live audience at the Skirball Cultural Center in Los Angeles.

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  Damon Runyon Theater - Hold Em...

  Damon Runyon

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  The Damon Runyon Theatre Hour.  Damon Runyon is acknowledged as one of the great writers to come out of twentieth century America.  Runyon's short stories are almost always told in the first person by a narrator who is never named, and whose role is unclear; he knows many gangsters and has no job that can be gleaned from his musings, nor does he admit to any criminal involvement; He’s a bystander, an observer, an average street-corner Joe.  Runyon described himself as "being known to one and all as a guy who is just around".  That line seems to say a lot about Runyon and his life.  It was like you were with him on some street corner hustle or some shady dive and he was filling you in on all the angles, all the gossip, all of life. He was who so many people wanted to be with……or so many people wanted to be.  Of course, the cliché about newspapermen and writers is that they are heavy drinkers, chain-smokers, gamblers and obsessively chase women with a sideline in the gathering of stories and facts and actually getting something written just before the deadline hits. That seems like Damon Runyon and his life summed up in one sentence.  His stories became legendary ways of looking that bit differently at America, of soaking up the atmosphere of a glamorous and rip-roaring age and distilling it into a black and white type or, in our case, The Damon Runyon Theatre Hour.

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