But this play-within-a-play is not historical drama. Its thought is as modern as today's police states and The Bomb; its theatrical impact has everywhere been called a major innovation. It is total theatre: philosophically problematic, visually terrifying. It engages the eye, the ear, and the mind with every imaginable dramatic device, technique, and stage picture, even including song and dance. All the forces and elements possible to the stage are fused in one overwhelming experience. This is theatre such as has rarely been seen before. The play is basically concerned with the problem of revolution. Are the same things true for the masses and for their leaders? And where, in modern times, lie the borderlines of sanity?

    This new adaptation by Dorothy Louise captures the remarkable pace of the story in fresh dialogue that is attuned to contemporary American audiences.

    There are 10 reading parts.

    To this day, many survivors–most of whom are in their eighties–still cannot talk about their experiences without unearthing terrible memories. Surviving the Sword gives voice to these tens of thousands of Allied POWs and offers us a powerful reminder of the terror and depravations of war and the resilience of the human spirit. In this important book, Brian MacArthur draws on the diaries of American, British, Dutch, and Australian Fepows (Far Eastern prisoners of war), some of whose recollections are published here for the first time. These soldiers wrote and kept their diaries, in secret, because they were determined that to record for posterity how they were starved and beaten, marched almost to death, or transported on “hellships”; how their fellows were summarily executed by guards or felled by the thousands by tropical diseases; and how they were used as slave labor–most notoriously on the Burma-Thailand railway, as depicted in The Bridge on the River Kwai. The diaries excerpted in this book make plain why the Fepows believed that their brutal treatment by Japanese and Korean guards was, literally, incomprehensible to those who did not live it. The prisoners whose stories appear here risked torture and execution to keep diaries and make sketches and drawings that they hid from the guards wherever they could, sometimes burying them in the graves of lost comrades. The survivors’ narratives reveal not just a litany of horrors, but are a moving testament to the nobler instincts of humanity as well, detailing how the POWs prevailed over horrible conditions, even finding or creating a precious few creature comforts and sustaining the rudiments of culture, learning, and play. Forced into solidarity by inhuman conditions, the soldiers showed incredible compassion for one another, improvising ingenious ways to care for the sick, boost morale by subtly mocking their jailers’ authority, or even turn meager rations into the occasional feast. Countless thousands died in Japanese prison camps during World War II. Those fortunate enough to emerge from their ordeal were never the same again. Surviving the Sword at last fills a notable historical gap in our understanding, while also commemorating and memorializing the Fepows’ struggle and sacrifice.

    In times when women were expected to be seen and not heard, they spoke out against oppression and used every creative means available to express their ideas and beliefs. Editor and writer Marian Broderick provides us with a series of lively portraits of seventy-five unorthodox Irishwomen. In these pages you will meet women you will never forget: Maria Edworth, Lady Jane Wilde, Lady Augusta Gregory, Peig Sayers, Nora Barnacle, Kitty Kiernan, Anne Bonny, Anne Devlin, Mother Jones, Countess Constance Markievicz, Hanna Sheey Skeffington, Fanny and Anna Parnell, Maud Gonne, St. Brighid, Margaret Leeson, Lady Betty, Queen Maeve of Connacht, Molly Brown, Kathleen Behan, Lola Monez, Daisy Bates, Greer Garson, Lilly and Lolly Yeats, and many more.Co-published with the O'Brien Press, DublinWisconsin edition is for sale only in the U.S.A., it's territories and dependencies, and Canada.

    A play sparked by the suicide of actor, Kenneth Morgan, with whom Rattigan had been in love.

    With this act of violence--which is loosely based on the notorious 1955 killing of Emmett Till--James Baldwin launches an unsparing and at times agonizing probe of the wounds of race. For where once a white storekeeper could have shot a boy like Richard Henry with impunity, times have changed. And centuries of brutality and fear, patronage and contempt, are about to erupt in a moment of truth as devastating as a shotgun blast.In his award-winning play, Baldwin turns a murder and its aftermath into an inquest in which even the most well-intentioned whites are implicated--and in which even a killer receives his share of compassion.

    A white teen who has grown up in the affectionate company of the two black waiters who work in his mother's tea room in Port Elizabeth learns that his viciously racist alcoholic father is on his way home from the hospital. An ensuing rage unwittingly triggers his inevitable passage into the culture of hatred fostered by apartheid."One of those depth charge plays [that] has lasting relevance [and] can triumphantly survive any test of time...The story is simple, but the resonance that Fugard brings to it lets it reach beyond the narrative, to touch so many nerves connected to betrayal and guilt. An exhilarating play...It is a triumph of playmaking, and unforgettable."-New York Post"Fugard creates a blistering fusion of the personal and the political."-The New York Times"This revival brings out [the play's] considerable strengths."-New York Daily News

    The first published play by an African American writer, The Escape explored the complexities of American culture at a time when tensions between North and South were about to explode into the Civil War. This new volume presents the first-edition text of Brown’s play and features an extensive introduction that establishes the work’s continuing significance.The Escape centers on the attempted sexual violation of a slave and involves many characters of mixed race, through which Brown commented on such themes as moral decay, white racism, and black self-determination. Rich in action and faithful in dialect, it raises issues relating not only to race but also to gender by including concepts of black and white masculinity and the culture of southern white and enslaved women. It portrays a world in which slavery provided a convenient means of distinguishing between the white North and the white South, allowing northerners to express moral sentiments without recognizing or addressing the racial prejudice pervasive among whites in both regions.John Ernest’s introductory essay balances the play's historical and literary contexts, including information on Brown and his career, as well as on slavery, abolitionism, and sectional politics. It also discusses the legends and realities of the Underground Railroad, examines the role of antebellum performance art—including blackface minstrelsy and stage versions of Uncle Tom's Cabin—in the construction of race and national identity, and provides an introduction to theories of identity as performance.A century and a half after its initial appearance, The Escape remains essential reading for students of African American literature. Ernest's keen analysis of this classic play will enrich readers’ appreciation of both the drama itself and the era in which it appeared.The Editor: John Ernest is an associate professor of English at the University of New Hampshire and author of Resistance and Reformation in Nineteenth-Century African-American Literature: Brown, Wilson, Jacobs, Delany, Douglass, and Harper.

    With Steffy, his sometime paramour, at his side, Herb decides to take another stab at fatherhood and hopefully this time, get it right.

    When it is announced that the Inspector General is coming to visit incognito, Anton, the chief of police, hastens to clean up the town before his arrival. Local officials scurry to hide evidence of bribe-taking and other misdeeds, setting the stage for the arrival from St. Petersburg of Ivan, a penurious gambler and rake who is promptly taken by the townspeople to be the dreaded Inspector General. Ivan, and his servant, Osip, soon take advantage of the situation with hilarious results. First performed in 1836, the play transcends regional and national boundaries to offer a biting, highly entertaining glimpse of universal human foibles and failings.

    Tyrant shows that Shakespeare’s work remains vitally relevant today, not least in its probing of the unquenchable, narcissistic appetites of demagogues and the self-destructive willingness of collaborators who indulge their appetites.

    It makes the blood rush."Olivier-award winning actor Adrian Lester plays Ira Alridge in the world premiere of Lolita Chakrabarti's new play, Red Velvet, which launches Indhu Rubasingham's reign as the Tricycle Theatre's new Artistic Director. The play is set in the Theatre Royal, Covent Garden, in 1833. Edmund Kean, the greatest actor of his generation, has collapsed on stage whilst playing Othello. A young black American actor, Ira Aldridge, has been asked to take over the role. But, as the public riot in the streets, how will the cast, critics and audience react to the revolution taking place in the theatre?Written by the 2012 Most Promising Playwright (Evening Standard Awards) Lolita Chakrabarti, Red Velvet uses imagined experiences based on the often-forgotten, but true, story of Ira Aldridge, an African-American actor who, in the nineteenth century, built an incredible reputation on the stages of London and Europe.

    You go and drive those Germans back where they've come from, and then come home to me.At the outbreak of World War one, Joey, young Albert's beloved horse, is sold to the cavalry and shipped to France. Caught up in enemy fire, fate takes Joey on an extraordinary odyssey, serving on both sides before finding himself alone in no man's land. But Albert cannot forget Joey and, still not old enough to enlist, he embarks on a treacherous mission to find him and bring him home.Nick Stafford's adaptation for the stage of the celebrated novel by the Children's Laureate (2003-05) Michael Morpurgo leads us on a gripping journey through history. War Horse premiered at the National Theatre, London, in October 2007.

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