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    "Ubu and the Truth Commission" is the full play text of a multi-dimensional theatre piece which tries to make sense of the madness which overtook South Africa during apartheid.

    But her temporary home across the country on a remote North Carolina island isn’t as peaceful as she initially thinks. Living under the new identity of Cassidy Livingston, she struggles to keep her investigative skills tucked away, especially after a body washes ashore. When local police bungle the murder investigation, she can’t resist stepping in. But Cassidy is supposed to be keeping a low profile. One wrong move could lead to both her discovery and her demise.Can she bring justice to the island . . . or will the hidden currents surrounding her pull her under for good? Flood Watch (Book 2) The tide is high, and so is the danger on Lantern Beach.  Still in hiding after infiltrating a dangerous gang, Cassidy Livingston just has to make it a few more months before she can testify at trial and resume her old life. But trouble keeps finding her, and Cassidy is pulled into a local investigation after a man mysteriously disappears from the island she now calls home.A recurring nightmare from her time undercover only muddies things, as does a visit from the parents of her handsome ex-Navy SEAL neighbor. When a friend's life is threatened, Cassidy must make choices that put her on the verge of blowing her cover.With a flood watch on her emotions and her life in a tangle, will Cassidy find the truth? Or will her past finally drown her? Storm Surge (Book 3) A storm is brewing hundreds of miles away, but its effects are devastating even from afar. Laid-back and light: that's Cassidy Livingston's new motto. But when a makeshift boat with a bloody cloth inside washes ashore near her oceanfront home, her detective instincts shift into gear . . . again. Seeking clues isn't the only thing on her mind-romance is heating up with next-door neighbor and former Navy SEAL Ty Chambers as well. Her heart wants the love and stability she's longed for her entire life. But her hidden identity only leads to a tidal wave of turbulence.As more answers emerge about the boat, the danger around her rises, creating a treacherous swell that threatens to reveal her past. Can Cassidy mind her own business, or will the storm surge of violence and corruption that has washed ashore on Lantern Beach leave her life in wreckage?

    The play is set in a beach bungalow. The young man who lives there has pulled a lost young woman from the ocean. Soon, she finds herself trapped in his life and torn between her need to come to rest somewhere and her certainty that all human relationships turn eventually into nightmares. The struggle between his tolerant and gently ironic approach to life and her strategy of suspicion and attack becomes a kind of war about love and creation which neither can afford to lose. This is an offbeat, wonderful love story. Note: The play contains a wealth of excellent monologue and scene material.

    It's not easy being part of the high-achieving Fox family: the expectations and demands of their husbands and children; the jealousies and rivalries; and the endless Sunday lunches where somehow everything feels like a competition. So when mysterious Sasha enters their lives, bloodied from the battlefield of a painful divorce, buried frustrations rush to the surface. Why is Kate's husband Jonny working so late at the office, and how will she cope at home alone? Can army-wife Helen trust Jago to come back to her next time, or is he drawn by temptations in a foreign field? And will Simon's explosive secret blow Olivia's marriage apart once and for all?Three sisters-in-law. One devastating divorcee. Whose husband is about to play with fire?

    This play by one of India's foremost playwrights and actors is based on a story from the Mahabharata which tellingly illuminates universal themes - alienation, loneliness, love, family, hatred - through the daily lives and concerns of a whole community of individuals.

    In the earlier play Ostrovsky had adopted a satiric tone that proved him a worthy disciple of Gogol, the great founder of Russian realism. Not one lovable character appears in that gloomy picture of merchant life in Moscow; even the old mother repels us by her stupidity more than she attracts us by her kindliness. No ray of light penetrates the "realm of darkness" -- to borrow a famous phrase from a Russian critic -- conjured up before us by the young dramatist. In Poverty Is No Crime we see the other side of the medal. Ostrovsky had now been affected by the Slavophile school of writers and thinkers, who found in the traditions of Russian society treasures of kindliness and love that they contrasted with the superficial glitter of Western civilization. Life in Russia is varied as elsewhere, and Ostrovsky could change his tone without doing violence to realistic truth. The tradesmen had not wholly lost the patriarchal charm of their peasant fathers. A poor apprentice is the hero of Poverty Is No Crime, and a wealthy manufacturer the villain of the piece. Good-heartedness is the touchstone by which Ostrovsky tries character, and this may be hidden beneath even a drunken and degraded exterior. The scapegrace, Lyubim Tortsov, has a sound Russian soul, and at the end of the play rouses his hard, grasping brother, who has been infatuated by a passion for aping foreign fashions, to his native Russian worth. Alexander Ostrovsky (1823-1886) was an early Russian Realist whose work led to the founding of the Moscow Arts Theatre and to the career of Stanislavsky. He has been acknowledged to be the greatest of the Russian dramatists.

    The murder of a beautiful woman shatters the rural village peace of Alfredville, and her husband, the police station commander, is jailed as chief suspect. Her cousin Peter, a freelance writer in London, returns to South Africa for the first time in decades – unsettled, curious, but also in search of a career-defining story. On checking into the Queen’s Hotel he finds that things are not as straightforward as he imagined, and South Africa is not as he left it. His carefully ordered world is thrown into turmoil as his trip dredges up a long-abandoned past, forcing him to question the assumptions so easily held from the comfort of his London flat. He meets a mixture of locals, visitors, vagrants and migrants, but most momentously, Peter discovers that his bosom friend from school, Bennie Nienaber, is still in Alfredville – and is in fact now, acting station commander at the local police station. Peter re-establishes an awkward friendship with his erstwhile friend and the two warily circle each other, sharing reminiscences that hint at a bond much deeper than nostalgia. As Peter abandons the neatly patterned story he had planned and is forced to participate in a community that he once despised, he begins to reconsider his place in the world. In search of Desirée’s story, he now starts to rewrite his own – till events take an even more shocking turn….Lost Ground explores questions of xenophobia and prejudice, of national, sexual and personal identity, and what it means to be a foreigner wherever you go.Michiel Heyns is the author of four previous novels: The Children’s Day, The Reluctant Passenger, The Typewriter’s Tale and Bodies Politic. He is a translator and was professor of English at the University of Stellenbosch.

    His job bores him and his love is unrequited. Very few people pay attention to Michael, and that suits him fine. Then one day, he finds himself the winner of the largest lottery in the history of Europe – €190,000,000! Under the weight of his new found wealth and fame, Michael’s life spirals out of control until he is forced to make a decision. A decision that will capture the imagination of the entire world…

    Control over law and order has long since passed from the hands of the administration to caste-based gangs and organized crime syndicates enjoying political patronage. Kidnapping has become one of the flourishing businesses of the state, while every other industry has dwindled down and the development plank has gone on a pause mode, on account of Rangdari, which is yet another booming business apart from contract killing, smuggling, illegal tree cutting, and vehicle snatching. Migration to other states is at peak: not only of big businessmen, but also of lowly laborers. And those who can’t leave the state are either sucked into the crime world or are forced to live under fear. Albeit the local newspapers everyday sketch the sordid saga of the state, the execrable condition is not likely to improve by any means in the near future. Digambar Babu, a middle-aged man of a small town Motihari (the place of Mahatma Gandhi's Champaran Satyagrah), is dejected and dismayed for his family falling apart, and so sets himself on a mission to make amends for the mistakes he has done in the past. Shakuntala Devi, his wife, infuriated at herself for having devoted her whole life selflessly and arduously for her ungrateful family, wants to make up for the injustice she has done to herself, by living the rest of her life selfishly. Sarvesh, their asthmatic son, whose first marriage perished about a decade ago, is still struggling with both his career and his married life, and Nisha, their daughter, is married to someone whom she thinks she will never be able to love. The biggest threat to the already troubled family is Nisha’s ex-lover Kanhaiya Tiwari, who is the youngest corporator of the town, and has sworn to ruin the family. Shyam, Nisha’s husband, who is ‘the absorber of the emotions’, in keeping with his fluidity, writhes in pain but transforms time and again, in order to win his wife’s heart, while Savita, Sarvesh’s current wife, colludes with Kanhaiya Tiwari in his evil intent, in order to have all the strings of the family in her hands. Benighted in Sodom, they weave their web of Karma, and fabricate their fates, but the biggest sufferer in the ruthless game of dominance and survival are the innocent children of the family.The story tries to draw parallels between Digambar Babu’s disarrayed family and the disordered town. The novel is inspired from the real events happened in the town during 90’s era of jungle-raaj.

    Is it her husband or her best friend?Recurring dreams of a car crash make sleep a nightmare for Juliette. The true nightmare begins when she wakes up, but loving husband Robin is by her side to help her remember… and forget.He’s the love of her life and he’s vowed he will never leave her and he’s true to his word. But, Robin doesn’t know everything and it’s up to best friend Stephen to fill in the gaps.Do we ever really know the people we love? Do we ever really know the people who love us?If you’re a fan of BA Paris, Mark Edwards, Clare Mackintosh or Lucy Clarke, don’t miss this tale of family secrets, lies and obsession. What readers are saying:‘An unputdownable psychological thriller with twists and turns all the way through, a great read.’‘A dark thriller to grip your imagination.’‘Just when I had worked out the ending it all changed.’‘Original in story and the characters were so easy to love, hate and scream at in your head.’‘Twisty and turny - in a good way!’

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    The play had its world premiere at the Cherry Lane Theatre in New York in spring 2013, starring Jesse Eisenberg and Vanessa Redgrave and directed by Kip Fagan.In The Revisionist, young writer David arrives in Poland with a crippling case of writer’s block and a desire to be left alone. His seventy-five-year-old second cousin Maria welcomes him with a fervent need to connect with her distant American family. As their relationship develops, she reveals details about her postwar past that test their ideas of what it means to be a family.

    As they prepare for a wedding, outside their living room the Iranian Revolution simmers and threatens to alter the course of their lives. Set over the course of 14 years, Sanaz Toossi’s timely world premiere play, directed by Gaye Taylor Upchurch, shines a light on the daring potential of friendship amid the relentless aftershocks of political upheaval. Directed by Gaye Taylor Upchurch

    Believe me. I don't know what's happened, but something has. He's changed. He . . . And I'm wondering if . . . To be absolutely honest with you . . . I'm even wondering if . . . Nicolas, just two years ago a smiling boy, is going through a difficult phase after his parents' divorce. He's listless, skipping classes, lying. He believes moving in with his father and his new family may help. And a different school, a fresh start. When he doesn't feel comfortable there, when he senses he isn't wanted, he decides that going back to his mother's may be the answer. But at some point, options are going to dry up. And then what?I'm telling you. I don't understand what's happening to me. Florian Zeller's The Son forms the final part in a trilogy with The Mother and The Father, all of which are translated by Christopher Hampton. The Son premieres at the Kiln Theatre, London, in February 2019.