Altri libri che potrebbero interessarti

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  Jack Thorne Plays: Two (NHB...

  Jack Thorne

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  After the breakout success of his early work for stage and screen, Jack Thorne turned for inspiration to his own family for a series of plays about hope, idealism, and domestic politics. The work in this collection – five full-length plays and two shorts – showcases his extraordinary ability to combine electrifying dialogue with heartfelt warmth, candour, and humour.
  Hope (Royal Court Theatre, 2014) is a funny and scathing fable about the leaders of a local council faced with savage funding cuts. 'A surprisingly entertaining state-of-the-nation drama' - The Stage
  The Solid Life of Sugar Water (Graeae/Theatre Royal Plymouth, 2015) is an intimate, tender play about loss, hurt, and rediscovery. 'Startlingly good… an adult play in the very best sense' - The Times
  Junkyard (Headlong, 2017) is a joyful celebration of imaginative play, a musical drama about a group of young people tasked with building a playground out of junk. 'Genuinely funny and poignant' - WhatsOnStage
  the end of history… (Royal Court, 2019) is a moving and sophisticated portrait of the impact of political idealism on a family. 'Clever and highly intriguing' - Independent
  Also included are Burying Your Brother in the Pavement, written for the National Theatre Connections Festival in 2008, which tackles complex themes of grief, violence, and sexuality with fierce compassion and wild imagination; and two short plays: Whiff Whaff and Boo.
  'I think these plays are about love, about heroes, about trying to understand how to be heroic, about trying to understand how to lead a good life' - Jack Thorne, from his Introduction
  'Jack Thorne is Britain's hottest playwright and screenwriter' - The Times
  'Jack Thorne never ceases to stimulate and entertain' - Evening Standard
  'Thorne is a writer of immense emotional intelligence and his dialogue regularly devastates' - The Stage

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  Fugitive Pieces - Poetry of Lord...

  Lord Byron

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  George Gordon, later Lord Byron, published Fugitive Pieces in 1806 when he was only 18 years old. It was printed, but Byron's friends - particularly Reverend Thomas Beecher - advised him that it contained poems that were scandalously amorous, particularly the poem To Mary. Byron suppressed it by having all the copies destroyed - or so he thought. As it happened, Thomas Beecher himself kept his copy, and there were three other copies that were not destroyed.Reverend Beecher's opinion was certainly correct, though his advice was inexcusable. The amorous poetry in this volume, particularly To Mary, is some of the most erotic serious poetry in English up to that time. Byron was an intensely emotional, intensely sexual young man, and his poetry shows it very clearly. It also shows the work of a young man with the makings of not only a serious poet, but a skillful satirist and humorist as well. While many of the poems are deeply romantic, indeed rather melodramatic effusions of the sort one would expect from the young man who would become a founder of the Romantic movement, others read more like Ogden Nash—witty, lively and skillfully done in happy, bouncing rhymes and meters, not at all what one might expect. 
  This recording of the volume Fugitive Pieces is based on the original volume as later published in limited-edition form. For that reason, the reader who knows Byron’s poetry well will notice that some of the texts used here differ, sometimes markedly, from the versions more commonly found. Byron revised and republished these early poems several times under several titles, most notably Pieces on Various Occasions and Hours of Idleness. Later titles in this series, which aims to present the whole of Byron’s poetry, will use the later versions of these same poems. In some cases the two versions are nearly identical.A Freshwater Seas production.

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  Witches' Brew (MacBeth Act IV...

  William Shakespeare

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  Librivox volunteers bring you seven readings of The Witches' Brew from Act IV Scene I of MacBeth, by William Shakespeare. This was the weekly poetry project for October 26, 2014.

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  Catching Stars - Read and...

  Rachel Lawson

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  Poet's short tome read by the author

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  Fault Lines (NHB Modern Plays)

  Lia Taylor

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  A razor-sharp new comedy that exposes the dilemmas of working in charity today and asks whether doing good is always the same as being good.
  7.32am. Christmas Eve. Disasters Relief's staff parties are legendary – but their aftermath cataclysmic. Nick and Abi wake amidst the carnage to breaking news: a massive earthquake has struck Pakistan.
  Gathering their clothes – and dignity – the race with rivals Oxfam begins. Who can be the first to dispatch branded aid in full view of the world media? And how far are they willing to go? With the appalling spectre of last night's antics hanging over everything, the day rapidly spirals into a dizzying web of secrets and lies.
  Fault Lines premiered at the Hampstead Theatre, London in December 2013.

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  James IV: Queen of the Fight...

  Rona Munro

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  Scotland, 1504, seen fresh through the eyes of new arrivals Ellen and Anne, two Moorish women who were expected to take their place at a royal court… but not this one.
  Both women now have to fight to find and keep a place in the dazzling, dangerous world of the Scottish court of James IV. It's a world where war is never far away, words of love and promises of peace are not what they seem, and where poets might turn out to be more dangerous than any assassin.
  Rona Munro continues her journey through an uncharted period of Scottish history with James IV: Queen of the Fight, which was first presented in 2022 by Raw Material and Capital Theatres in association with National Theatre of Scotland, and directed by Laurie Sansom.
  It follows the spectacular success of Munro's plays about James I, II and III, which were first performed by National Theatre of Scotland, transferred to the National Theatre, London, and were named Best New Play at the Evening Standard Awards.
  'Epic and intimate... abounds with curious, colourful characters... Scotland's answer to Shakespeare's cycle of history plays. The similarities are there in the scope of [Munro's] script, the cross-section of courtly society she presents and in the flashes of humour that illuminate the evening. Most of all, they are in the play's questing contemplation of royal and national identity, then and now... a fun and fascinating riposte to Shakespeare' - The Stage
  'Explosive and chilling' - Guardian
  'Ambitious and admirable... a history play that says a great deal about modern Scotland' - Financial Times

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