The audience must decide - did Dr Sherwood murder his wife? Was Jennifer Mitchell his mistress? Which of his alibis should they believe?

    The story of two white-collar managers, Chad and Howard, who maliciously plot to jointly romance the lonely, deaf, beautiful office temp Christine before simultaneously dumping her, is cool and compelling in its depiction of the worst sorts of emotional abuse. What begins as a cat-and-mouse game of one-upmanship quickly escalates into full-scale psychological warfare. Only too late does this 'frat boy' prank reveal itself as deadly serious, with a struggle between the two men at the heart of the battle. The woman is only a means to an end, a pawn easily captured and tossed aside in a dark, wicked duel for corporate ascension.

    The entire audience at the George Theatre saw Charlotte Devaraux stab William Kirkpatrick with a fake dagger. They gasped as he fell. But they gasped even more when they realized this would be his final curtain call. How did the murderer manage to exchange the fake dagger for a real one? With the help of the brilliant Dr Ellie Carr, a career driven scientist, Blackstone is able to determine that this dagger had not only been exchanged for a real one but had been laced with a most deadly poison. But what is the source of this exotic poison? And who is the mysterious little old man who keeps appearing on the edges of the investigation? Assisted by the amiable Sergeant Patterson, Blackstone follows the trail of the killer from the theatre to the world of the Victorian freak show and into the depths of a lunatic asylum. And though he does not know it, another murder is now brewing. Will he find this killer in time? With a cast of unusual suspects, all of which have the motive and the wherewithal to commit the crime, Blackstone struggles to find which is truth and which is merely part of the act. Praise for Sally Spencer: "The characters are rich and complex, the plot is unusual and inventive, but it's the delightfully droll, wonderfully witty doses of humour that make the novel such a pleasure" - Booklist Sally Spencer worked as a teacher both in England and Iran - where she witnessed the fall of the Shah. She now writes full time. Endeavour Press is the UK's leading independent publisher of digital books.

    

    His work is inventive, disciplined and, at the same time, wild and evocative. His ear is splendid and his mind is agile.”—Edward Albee“An original, a maverick wordsmith whose weird, wry dramas gurgle with the grim humor and pain of life. Eno specializes in the connections of the unconnected, the apologetic murmurings of the disengaged.”—GuardianWinner of the 2004 Oppenheimer Award for best New York debut by an American playwright, The Flu Season is a reluctant love story, in spite of itself. Set in a hospital and a theater, it is a play that revels in ambivalence and derives a flailing energy from its doubts whether a love story is ever really a love story.Will Eno has been called “a Samuel Beckett for the Jon Stewart generation” (New York Times)—he is a playwright with an extraordinary voice and a singular theatrical vision. Also included in this volume are Tragedy: A Tragedy and Intermission.Will Eno is the author of Thom Pain (based on nothing), which ran for a year Off-Broadway and was a 2005 Pulitzer Prize finalist. Other works include Oh, the Humanity and other good intentions, The Flu Season, Tragedy: a tragedy, and Intermission.

    Ayckbourn's series of plays for 4-5 actors typify his black comedies of human behaviour. The plays are alternately naturalistic, stylised and farcical, but underlying each is the problem of loneliness. The Mother Figure shows a mother unable to escape from baby talk; in The Drinking Companion, an absentee husband attempts seduction without success; in Between Mouthfuls, a waiter oversees a fraught dinner encounter. A garden party gets out of hand in Gosforth's Fete, whilst A Talk in the Park is a revue style curtain call piece for the five actors. Whether the comedies concern marital conflict, infidelity or motherhood and take place on a park bench or at a village fete, the characters are familiar and their cries for help instantly recognisable. Principally he is respected as a radical re-inventor of form - Dominic Dromgoole.

    From high-class hookers to 7/7 survivors these monologues paint a revelatory picture of Britain as it is today. After rave reviews at the 2008 Edinburgh Festival and in New York, "Eight" opened in London's West End in July 2009.

    A sad, deprived child, he slowly begins to flourish under the care of old Tom Oakley - but his new-found happiness is shattered by a summons from his mum back in London.

    A short critical essay which considers the significance of the title.

     What do you do when you can't control your feelings for someone? When you know you shouldn't go there? Not even in your head. Annie has never experienced the 'spark' with a guy-the kind of instant chemistry that steals your breath and blindsides you completely. Until a night out with friends brings her face to face with the wickedly sexy and mysterious Jack. It's not just a spark that ignites between them. It's an explosion. Jack promises to consume Annie, and he fully delivers on that promise.Overwhelmed by the intensity of their one night together, Annie slips out of their hotel room. She is certain that a man who's had such a powerful impact on her and who could bend her to his will so easily, must be dangerous. But she's already in too deep. And Jack isn't only dangerous. He is forbidden.

     There is a Voice calling us as a species back to the Blueprint of our Design. A Voice calling us out of ignorance into an expansive future beyond our wildest dreams. A future beyond the limitations of space and time, the mind and the physical body. A future “Beyond Human”.

    One solution was to erect prefabs on fields and open spaces to give temporary accommodation to those who had been bombed out. It was in one of these ‘modern’ boxes that young Norman Jacobs grew up through the 1950s and 1960s. In a lively, detailed and humorous picture of a postwar Hackney childhood, Norman takes us back to an age of rationing, bomb sites, street markets, colourful characters and camaraderie. And in reminiscing about stodgy school food, jumpers for goalposts, Listen with Mother, greyhound racing, pie ’n’ mash, holiday camps, and the advent of American-style burger bars, he provides a glimpse into a way of life that has vanished for ever. Set against a backdrop of Rock ’n’ Roll, the Cuban Missile Crisis and the assassination of President Kennedy, funny, poignant and sometimes sad, Norman’s is a story full of innocence and happiness that will take you back to the best of times – the days we thought would never end.

    In Eyes for Consuela, based on Octavio Paz’s classic story “The Blue Bouquet,” a vacationing American encounters a knife-toting Mexican bandit on a gruesome quest. And in When the World Was Green, cowritten with Joseph Chaikin, a journalist in search of her father interviews an old man who resolved a generations-old vendetta by murdering the wrong man. Together, these plays form a powerful trio from an enduring force in American theater.

    But when a domestic disturbance call takes a turn for the worse, their friendship is put on the line. The result is a difficult journey into a moral gray area where trust and loyalty struggle for survival against a sobering backdrop of pimps, prostitutes, and criminal lowlifes.A dark duologue filled with sharp storytelling and biting repartee, A Steady Rain explores the complexities of a lifelong bond tainted by domestic affairs, violence, and the rough streets of Chicago.

    He enlists the aid of his lifelong buddy, Aldo Scalicki, a confirmed bachelor who tries, without apparent success, to convince Huey that he would be better off sticking with his new lady friend, Teresa, a usually placid young waitress whose indignation flares when she learns what Huey is up to. In a moonlit balcony scene (hilariously reminiscent of Cyrano de Bergerac) Aldo pleads his lovesick friend's case and, to his astonishment, Janice capitulates although not for long. However we do learn that her earlier abuse of Huey was intended to make him "act like a man" which, at last, he does. And, more than that, he (and the audience) become aware that, in the final essence, "the greatest and only success is to be able to love" a truth which emerges delightfully from the heartwarming, wonderfully antic and always imaginatively conceived action of the play.