Manifesting Ridley's vivid and visionary imagination and the dark beauty of his outlook, the play resonates with his trademark themes: East London, storytelling, moments of shocking violence, memories of the past, fantastical monologues, and that strange mix of the barbaric and the beautiful he has made all his own.The Pitchfork Disney was Ridley's first play and is now seen as launching a new generation of playwrights who were unafraid to shock and court controversy. This unsettling, dreamlike piece has surreal undertones and thematically explores fear, dreams and story-telling. First produced in 1991, it has gone on to be recognised as the annunciation of Ridley's dark and seductive world.

    Prior is a man living with AIDS whose lover Louis has left him and become involved with Joe, an ex-Mormon and political conservative whose wife, Harper, is slowly having a nervous breakdown. These stories are contrasted with that of Roy Cohn (a fictional re-creation of the infamous American conservative ideologue who died of AIDS in 1986) and his attempts to remain in the closet while trying to find some sort of personal salvation in his beliefs.

    The play was suppressed for over a decade, but interest in it renewed when Howard and Carr were released from imprisonment from the Tower of London in 1622.The play's scribal manuscript survives, and it was first published by Isaac Reed in 1778.This edition features an introduction, notes, and historical background by Elizabeth Schafer, a biographical sketch of Middleton by William C. Carroll, and Ian Spink's piano/vocal arrangements of the original settings two of the play's songs, "In a Maiden Time Profess'd" composed by John Wilson, and "Come Away, Hecate!" composed by Robert Johnson.

    He is also an accomplished screenwriter who has in the past few years turned his hand to writing plays. The results, collected here, hilariously explore serious questions of love, happiness and the meaning of life; they are rich with equal parts of pain and slapstick humour, torment and wit.

    The Pirates of Penzance, premiered in 1879, confirmed the comic genius of librettist W.S. Gilbert and composer Arthur Sullivan, following on the heels of their wildly successful H.M.S. Pinafore . Pirates invade the rocky coast of Cornwall in this topsy-turvy tale of love and duty, highlighted by the famous strains of Poor Wandering One, I Am the Very Model of a Modern Major-General, Oh, Is There Not One Maiden Breast and With Cat-Like Tread, Upon Our Prey We Steal. This vocal score includes the complete music and all dialogue, a plot synopsis, articles on the famous partnership and the history of The Pirates of Penzance, a filmography and a discography.

    As a blizzard rages outside, a lonely figure, Henry Harry, lies sleeping under a heap of blankets. Suddenly, he is awakened by the insistent knocking of an unexpected visitor who turns out to be Rosannah DeLuce, a distraught young woman who has fled all the way from Arizona to escape her impending marriage, and who bursts into the cabin dressed in full bridal regalia. Exhausted, she throws herself on Henry's mercy, but after sleeping for two days straight, her vigor and combativeness return. Both characters, it develops, have been wounded and embittered by life, and both are refugees from so-called civilization. Thrown together in the confines of the snowbound cabin, they alternately repel and attract each other as, in theatrically vivid exchanges, they explore the pain of the past and, in time, consider the possibilities of the present. In the end their very isolation proves to be the catalyst that allows them to break through the web of old griefs and bitter feelings that beset them both and to reach out for the solace and sanctuary that only hard-won understanding, self-awareness and compassion for the plight of others can bestow.

    As victims of political action, powerless to initiate change, what can they do? How do they live and survive?Frank McGuinness explores the daily crisis endured by hostages whose strength comes from communication, both subtle and mundane, from humour, wit and faith.Someone Who'll Watch Over Me premiered at the Hampstead Theatre, London, in 1992 before transferring to the West End. On Broadway, it was awarded the New York Drama Critics' Circle Award for Best Foreign Play and nominated for the Tony Award for Best Play in 1993.

    Read the first four Musings of Merlin books here! "A marvelous modern take on the legendary Merlin... A definite must-read!" - Readers' Favorite "Ignition is... a unique take on [Merlin's] life without Arthur." - Bibliophilic Book Blog "Highly recommended for lovers of fantasy and the Merlin legends." - Amazon Reviewer Ignition, Book 1: Merlin, the legendary King Arthur’s mysterious magician, is immortal. As Arthur lay dying he promised to return. Merlin is holding him to his word. Forever young, forever waiting, Merlin lives an unassuming life in the city, keeping his identity and abilities secret from his friends. It's a long and lonely road, but Merlin is a patient man. It's now the 21st century and when the earth begins to groan with earthquakes, Merlin knows the situation is anything but natural. An eruption is imminent, but something—or someone—is forcing this volcano to erupt. Merlin must use his concealed talents and practiced charisma to save a town of innocent people before disaster strikes. He has the power to thwart a catastrophe—if time doesn’t run out first. Winded, Book 2: Merry Lytton, or Merlin as he was once known, has been waiting for the return of his friend King Arthur for centuries. It's an eventful wait: only weeks ago, he stopped a wicked plot to magically erupt a nearby volcano. Merry's latest worry is the revelation of his immortality—his modern-day friends are a little too curious. They do not need to know he has a history that could fill a library. Unknown to Merlin, the organization Potestas is furious at his geologic meddling, and an enraged member of the group is determined to wreak vengeance. For the first time in Merlin's ancient life, he must confront an enemy vastly more powerful than himself. Battling high in the skies and over mountain peaks, will Merlin's foe leave him breathless—forever? Floodgates, Book 3: Merlin the magician from centuries past now lives in Vancouver as an unremarkable young professor known as Merry Lytton. Merry keeps his secrets from friends and foes alike while infiltrating the nefarious organization known as Potestas, whose goal is to gain unimaginable power. Potestas' charismatic leader has welcomed Merry into the group, but for what purpose? Merry soon discovers that Potestas must recover King Arthur's holy grail to complete its plans, but the grail is firmly fused to the seafloor by magical means. As Merry is threatened by hostile spirits and hallucinations, will he succeed in stopping Potestas before they unleash the full fury of the ocean's power? Buried, Book 4: Immortal Merlin, known as Merry Lytton to his twenty-first century friends, is in a battle of wits with the powerful Potestas organization. Potestas is determined to gain unimaginable powers for its members, and Merry holds the key to unlocking this ambition. In exchange, Potestas promises to reveal crucial information on Merry’s heritage and answer questions he’s had for centuries. But when Merry learns that Potestas plans a human sacrifice, he is in a race against evil. Can he save an innocent life before a destructive new reality is thrust upon an unsuspecting world?

    Lyly took up the story of two young women, Galatea (or Gallathea) and Phillida who are dressed up in male clothes by their fathers so that they can avoid the requirement of the god Neptune that every year "the fairest and chastest virgin in all the country be sacrificed to a sea-monster." Hiding together in the forest, the two maidens fall in love, each supposing the other to be a young man. "Galatea" has become the subject of considerable feminist critical study in recent years. "Midas" (1590) uses mythology in quite a different way, dramatizing two stories about King Midas in such a way as to fashion a satire of King Philip of Spain (and of any tyrant like him) for colossal greediness and folly. In the wake of the defeat of Philip's Armada fleet and its attempted invasion of England in 1588, this satire was calculated to win the approval of Queen Elizabeth and her court.

    Both are struggling to escape from lingering parental domination and to establish their own lives and identities. In Janie's case this leads to an inconclusive involvement with a young Jewish doctor who calls her "Monkey"; while Harriet assails the world of big business and has an affair with her hard-driving (and married) boss. Told in a fast-moving series of inventive, alternately hilarious and touchingly revealing scenes, the play explores their parallel stories with uncommon wit and wisdom-resulting, ultimately, in a heightened awareness which, while not providing all the answers, goes a long way toward achieving the maturity and self-assuredness that both protagonists so desperately desire.

    He visits an old flame, buys a gun and goes on a blistering road trip through the new home front.'I don't blame the war. The war was alright. I miss it. It's just you come back to this.'Written during the London bombings of 2005, Motortown is a fierce, violent and controversial response to the anti-war movement - and to the war itself. Chaotic and complex, powerful and provocative, Simon Stephen's new play portrays a volatile and morally insecure world.Motortown premieres at the Royal Court Theatre on 21 April 2006. It follows the critically acclaimed On the Shore of the Wide World (Manchester Royal Exchange/National Theatre), winner of the Olivier Award for Best New Play (2005).

    From building his village into a town, producing food and protection and more, the real troubles have only begun for him in his [Magic Life]. Not only will he have to face animals, monsters and other demon tribes that appear like grass, to advance he will even have to go against other gods, angering them to carve out his path as a Lord player but his troubles aren't only in the game. The real world is slowly changing along with the game and he will have to start adapting as he slowly unfurls his wings.

    Book by Richard O'Brien

    The story of the mythological king, who is doomed to kill his father and marry his mother, has resonated in world culture for almost 2,500 years. But Sophocles’ drama as originally performed was much more than a great story—it was a superb poetic script and exciting theatrical experience. The actors spoke in pulsing rhythms with hypnotic forward momentum, making it hard for audiences to look away. Interspersed among the verbal rants and duels were energetic songs performed by the chorus.            David Mulroy’s brilliant verse translation of Oedipus Rex recaptures the aesthetic power of Sophocles’ masterpiece while also achieving a highly accurate translation in clear, contemporary English. Speeches are rendered with the same kind of regular iambic rhythm that gave the Sophoclean originals their drive. The choral parts are translated as fluid rhymed songs. Mulroy also supplies an introduction, notes, and appendixes to provide helpful context for general readers and students.

    Premiering at the Royal Court, NSFW is a sharp, biting, satirical new comedy that marks the breakthrough of one of the United Kingdom's most exciting playwrights.