Altri libri che potrebbero interessarti

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  Shed: Exploded View

  Phoebe Eclair-Powell

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  'There was a fork in her face. An actual fork. He dug a fork into her face. A fork stood on end in her cheek. A fork.'
  The smallest tremble. A smashed glass. The ripping apart of space and time.
  Three couples. Thirty years. Mothers and daughters. Lovers, partners, husbands and wives. Babies, teenagers, birthdays, holidays, honeymoons, fireworks, near-misses, rain. This is a play about all of it.
  A devastating and delicately woven piece about violence, love and loss, Phoebe Eclair-Powell's Shed: Exploded View won the 2019 Bruntwood Prize for Playwriting. Partly inspired by Cornelia Parker's stunning artwork Cold Dark Matter: An Exploded View, it was first performed at the Royal Exchange Theatre, Manchester, in 2024, directed by Atri Banerjee.

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  How to be a Tarot Card (or a...

  Jennifer A. McGowan

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  The tarot has been used to play games since the 15th century. Since that time each card has also accumulated meanings. By the 18th century the tarot was used for divination or for oracular purposes, much like the Delphic oracles of old. Nowadays the trumps, or major arcana, are believed to chronicle, symbolically, the journey of the Fool through life.
  How to be a Tarot Card (or a Teenager) explores, exploits, and sometimes downright twists the major arcana and the meanings they have accumulated, in the order in which the many hundreds of tarot decks now travelling the world present them. The Star, connoting hope, exists simultaneously as metaphor and feral dog; the rebirth nestled inside the Death card becomes female friendship and escape from patriarchal binds.

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  Have It

  John Cooper Clarke

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  John Cooper Clarke may have an honorary doctorate and a poem on the English Literature GCSE syllabus, but don’t let that fool you: the ‘Poet Laureate of Punk’ is still a bona fide iconoclast. In Have It, a collection of scathing new poems, the Bard of Salford puts his pen to work across a host of painfully funny critiques of modern life.Praise for John Cooper Clarke‘A rhymer to be reckoned with . . . with a panache contemporary poets should aspire to and respect’ The Sunday Times‘John Cooper Clarke uses words like Chuck Berry uses guitar riffs melody and anger, humour and disdain in equal measure. He’s the real deal, really funny and really caustic, the velvet voice of discontent’ Kate Moss‘John Cooper Clarke is one of Britain’s outstanding poets. His anarchic punk poetry has thrilled people for decades . . . long may his slender frame and spiky top produce words and deeds that keep us on our toes and alive to the wonders of the world’ Sir Paul McCartney

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  [boxhead]

  Darren O'Donnell

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  Dr. Actions: What do you think it all means? Dr. Thinking: I think it means that our collaboration is destined for great heights and the basking glory of inter-planetary fame and fortune. Dr. Actions: But you said your dream was terrifying. Dr. Thinking: Well, I’ve always been afraid of success. Dr. Actions: Well, get over it, Blockbrain. Now that we’ve invented the echoless yell, nothing is going to getin our way. Lay it on me.
     
  Dr. Thoughtless Actions, a young geneticist, awakes one morning to find a cardboard box secured to his head. Unable to wrench it off, he attempts suicide, not only failing but also, unbeknownst to himself, cloning himself, creating Dr. Wishful Thinking. The two losers fall madly in love, fall in science and fail to make a baby.
     
  The cast consists of the two boxheads, who also play two disembodied narrators. The conversationbetween the four voices, an intricately woven semantic circus, traverses boxedness, love and the more ridiculous areas of metaphysical speculation. Through a series of rapid exchanges, verbal games and musical numbers, they discover that all their thoughts come from God, all their words come from the devil, and their desire for love is a habit acquired from the cinema. Sound familiar? Don’t be so hard on yourself.
     
  ‘Audacious, thought-provoking and frequently hilarious …a tightly wound complex of existential postulations, metaphysical ruminations and poop jokes.’
     
  – Eye Weekly

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  A Doll's House

  Henrik Ibsen

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  A door slams, and the echoes never fade. Henrik Ibsen's A Doll's House (1879) is a play that doesn't shout—it lingers, unsettling and undeniable. Beneath the surface of a seemingly ordinary household lies a quiet storm, gathering strength with every polite exchange, every carefully placed smile.
  Nora Helmer is a wife, a mother, a woman adored. Her home is warm, her life is comfortable, her husband sings her praises. But when a long-kept secret begins to unravel, so does the delicate balance of her world. What happens when the roles we play no longer fit? When the words we speak don't match the voices inside us?
  Ibsen doesn't lecture, doesn't plead—he simply opens a door and lets us look inside. What we see is up to us. Is it a tale of liberation or betrayal? A tragedy or a beginning? More than a century later, the questions still stand, just as urgent, just as sharp.
  With A Doll's House, Ibsen didn't just write a play. He set a stage for countless conversations, forcing audiences to lean in, to question, to wonder. And when the final moment comes, when the door closes behind Nora, it isn't just her world that shifts. It's ours, too.

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  Emma

  Ava Pickett

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  Emma Woodhouse thinks she has it all figured out. Fresh from Oxford University and back in her hometown for the summer, she's ready to do what she does best: sort out everyone else's lives, whether they like it or not.
  Her closest friend Harriet is a total dating disaster, her father keeps disappearing on mysterious errands, and George Knightley refuses to stop pointing out the flaws in her flawless plans. But Emma knows best... right?
  Emma is Jane Austen's timeless classic of romance, friendship, and the tricky business of figuring out what truly makes us happy. Ava Pickett's irresistible adaptation joyously pulls the story into the twenty-first century, swapping drawing-room duets for dance-floor fillers. It premiered at Rose Theatre, Kingston upon Thames, in 2025, directed by Christopher Haydon.

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