Failed ideals and human disillusionment give way in Hamletmachine to the youth clamoring in reaction against the past in order to change the present. To break free of the continual cycle of violence within history the past is questioned and deconstructed. Moving away from psychological narrative, Hamletmachine creates a landscape of the betrayed revolution. Brown's production challenges and provides resistance to this complicated text, inciting spectators to do the same. This performance is an exploration into the place of theatre as a sight of revolutionary change. In Müller's words, "the slogan of the Napoleonic era still applies: Theater is the Revolution on the march."

    From the book by S.E. Hinton.Cast: 10m., 8w. (extras as desired.) Some variations possible. S.E. Hinton, who wrote this modern classic when she was 16 years old, comments: "The Outsiders, like most things I write, is written from a boy's point of view. That's why I'm listed as S.E. Hinton rather than Susan. (I figured most boys would look at the book and think 'What can a chick know about stuff like that!') None of the events are taken from life, but the rest—how kids think and live and feel—is for real. The characters—Dallas, who wasn't tough enough; Sodapop, the happy-go-lucky dropout; Bob, the rich kid whose arrogance cost him his life; Ponyboy, the sensitive, green-eyed Greaser who didn't want to be a hood—they're all real to me. Many of my friends are Greasers, but I'm not. I have friends who are rich, too, but nobody will ever call me a Soc—I've seen what money and too much idle time and parental approval can do to people. Cool people mean nothing to me—they're living behind masks and I'm always wondering "Is there a real person underneath?" This entirely practical stage adaptation deals with real people, seen through the eyes of young Ponyboy, a Greaser on the wrong side of life, caught up in territorial battles between the have-it-made rich kids—the Socs—and his tough, underprivileged "greaser" family and friends. In the midst of urban warfare, somehow Ponyboy can't forget a short poem that speaks of their fragile young lives:Nature's first green is gold, Her hardest hue to hold.Her early leaf's a flower; But only so an hour.Then leaf subsides to leaf. So Eden sank to grief,so dawn goes down to day. Nothing gold can stay."Robert Frost wrote it," Ponyboy tells Johnny. "I always remembered it because I never quite got what he meant by it." Cherry, a beautiful Soc, comes to share a special sensitivity with Ponyboy as she discovers that he remembers poems and needs to watch sunsets. At the same time, Cherry's attracted to the older, tougher Dallas, and in a sense she's caught in the violent space between the Greasers and the Socs. While the Socs appear to have everything, the only thing a Greaser has is his friends. As these young people try to find themselves and each other, as the sadness of sophistication begins to reach them and their battles and relationships reach a resolution, Ponyboy's dying friend, Johnny, sends him a last message … I've been thinking about the poem that guy wrote. He meant you're gold when you're a kid, like green. When you're a kid everything's new, dawn. It's just when you get used to everything that it's day. Like the way you dig sunsets, Pony. That's gold. Keep it that way. It's a good way to be. This is a play about young people who are not yet hopeless about latent decency in the midst of struggle. Area staging. Approximate Running Time: 2 hours.

    Not to follow this path necessarily, but to remember that there are always many options.'Aged thirty-seven, single and having experienced two miscarriages, Genevieve Roberts found out that her fertility levels were dwlindling. On hearing this news, she made the courageous decision to embark on motherhood solo and eventually became pregnant using a sperm donor.Genevieve describes her initial fear of the prospect of birth without a partner, and the trepidation she felt towards all the responsibility she has taken on. She recounts all the milestones of pregnancy and motherhood that most women share with their partner -- going to NCT classes alone, taking part in birthing workshops with her sister-in-law, her amazement that two people in her pregnancy yoga class are following the same path as her. But ultimately what triumphs is Genevieve's excitement at meeting her daughter. She recalls the first months of parenthood, navigating the love, worry and tiredness of life with a newborn without a partner. She describes the beautiful simplicity of the relationship between herself and her daughter, as she gets to know Astrid without having to consider a partner. Going Solo is for anyone whose life has taken an unexpected twist; for people who are interested in modern families and for those who want to take control of their life and follow their dreams of parenthood. It celebrates the fulfilment that comes from following what makes you happy, and reminds us that beauty may be found when life offers a surprise or a deviation from convention.

    I'm changing things. This is it.Three old friends in their mid-twenties. One remarkable day. For Ted, Danny and Charlotte, it’s time to seize control. Make a difference. Change things. This is it.A day trip through the parks and raves and cafes of South London, where life is what you make it. The rapid fire words of Kate Tempest paint a picture of lives less ordinary in an unforgiving world, sound-tracked by an exhilarating score.The drama mixes rap-style poetry delivered with microphones and self-reflexive addresses to the audience.A play about love, life and losing your mind, and the first play from one of the UK’s most exciting performance poets, Kate Tempest.

    A sympathetic werewolf, a vampire and an Egyptian princess brought to life when her tomb is opened make this a comedy that has everything."Far and away the funniest two hours on a New York stage....What more meaningful gift could Ludlam bequeath [audiences

    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.

    It's also about creating a life that's well-rounded, filled with humor and understanding—and most importantly, that suits you. At a cultural moment when we are all craving people to admire, Queer Eye offers hope and acceptance. After you get to know the Fab Five, together they will guide you through five practical chapters that go beyond their designated areas of expertise (food & wine, fashion, grooming, home decor, and culture), touching on topics like wellness, entertaining, and defining your personal brand, and complete with bite-sized Hip Tips for your everyday quandaries. Above all else, Queer Eye aims to help you create a happy and healthy life, rooted in self-love and authenticity.

    But hidden there is a secret no one wants to confront, and when they stumble upon it the friends set off an unstoppable chain of events. A supernatural thriller of suburban teenagers fleeing a mysterious plague.

    But he also recognized that people wanted to be entertained while educated, and to see purpose mixed with pleasure. In these three plays of ideas, Shaw employed traditional dramatic forms - Victorian melodrama, the history play and the adventure story - to turn received wisdom upside down. Set during the American War of Independence, The Devil's Disciple exposes fake Puritanism and piety, while Caesar and Cleopatra, a cheeky riposte to Shakespeare, redefines heroism in the character of the ageing Roman leader. And in Captain Brassbound's Conversion, an expedition in Morocco is saved from disaster by a lady explorer's skilful manipulation of the truth.

    Amy is curled up on the locker room floor. DRY LAND is a play about abortion, female friendship, and resiliency, and what happens in one high school locker room after everybody’s left.

    He is sent to Italy by a wealthy financier to try and coax home the rich man's son. In the process Ripley becomes both attracted and seduced, finding the murder the only way to deal with the situation. From that point Ripley tries to cover up his crime. Patricia Highsmith's beguiling tale of morality and amorality is given a dramatic rendering by contemporary dramatist Phyllis Nagy, who knew Highsmith in her later years in Paris."Each play I see by Phyllis Nagy confirms me in the belief that she is the finest playwright to have emerged in the 1990s" (Financial Times)

    But Eddie sees through the disguise, takes an unexpected ride, and demonstrates it to his boss at a failing cable TV network. Through a series of adventures, the time machine becomes damaged, friends become stranded, and history gets changed in many ways—some dangerous, all humorous. Two romances—one quite unconventional—blossom along the way. Back to You is a hilarious science fiction romp in the tradition of The Hitchhiker’s Guide to the Galaxy.

    It is sweet and fitting to die for one's country. This moving play is about the poetic life and the inter relationship between two of the finest Great War poets: Owen who died and Siegfried Sasson who didn't. Told by means of letters and poetry, Not About Heroes paints a vivid picture of the war. It was staged to

    Ever been racially slurred in the sack? Ever been subjected to strangers yelling at you at 3am about the most intimate details of your life? Ever been to New York? Six characters from wildly different backgrounds make love, war and hysteria late one night in the cultural, sexual and generational smorgasbord that is Manhattan.

    With keen insight and a ceaseless attention to detail, The Flick pays tribute to the power of movies and paints a heartbreaking portrait of three characters and their working lives. A critical hit when it premiered Off-Broadway, this comedy, by one of the country's most produced and highly regarded young playwrights, was awarded the coveted 2013 Susan Smith Blackburn Prize, an Obie Award for Playwriting and the 2014 Pulitzer Prize for Drama.