Moving from street corner to living room, from bedroom to kitchen, we meet the inhabitants of young, middle-aged, and old, glimpsing their socially and emotionally wretched lives, in this sharp, sad, funny, and angry play.

    Almost one hundred years later, a groom-to-be prepares for his gay wedding.Queers celebrates a century of evolving social attitudes and political milestones in British gay history, as seen through the eyes of eight individuals.Poignant and personal, funny, tragic and riotous, these eight monologues for male and female performers cover major events - such as the Wolfenden Report of 1957, the HIV/AIDS crisis, and the debate over the age of consent - through deeply affecting and personal rites-of-passage stories.Curated by Mark Gatiss, the monologues were commissioned to mark the anniversary of the 1967 Sexual Offences Act, which decriminalised homosexual acts in private between two men over the age of twenty-one. They were broadcast on BBC Four in 2017, directed and produced by Gatiss, and starring Alan Cumming, Rebecca Front, Ian Gelder, Kadiff Kirwan, Russell Tovey, Gemma Whelan, Ben Whishaw and Fionn Whitehead. They were staged at The Old Vic in London.This volume includes:The Man on the Platform by Mark GatissThe Perfect Gentleman by Jackie CluneSafest Spot in Town by Keith JarrettMissing Alice by Jon BradfieldI Miss the War by Matthew BaldwinMore Anger by Brian FillisA Grand Day Out by Michael DennisSomething Borrowed by Gareth McLean

    The tragicomedy of race, class, manners and naivete of liberalism.

    Artificial, irreverent, and bawdy, the Restoration theatre came as a violent reaction to the strict ordinance of the Commonwealth.

    Smith was 15 when her older brother, Roy, was killed in a car accident, and her memoir follows her family as they attempt to put their lives back together. Her parents try to take comfort in their strong Catholic faith but are nonetheless shattered. For her part, Smith wonders why God has abandoned her. She finds cold comfort in Catholic symbols and rituals, feeling a connection to Roy only when she enters the old fort they had built together. An engaging storyteller, Smith crafts her memoir to read like a novel, interspersing moving flashbacks of the times she spent with her brother with amusing portraits of the nuns at her parochial school, who sneak out of the infirmary to play cards and make autumnal visits to a secret swimming pool. As a child, Smith wonders why her father blesses her and Roy every morning, touching a relic to their foreheads, mouths, and hands, mentioning each individual body part. "He's got to name us, like Adam named the animals," Roy explained. "To keep track of them." The near impossibility of "keeping track," and the changing nature of faith are just two of the poignant messages in this unforgettable debut.

    . .Born into a brothel, Ruth's future looks bleak until she catches the eye of Mr. Dryer. A rich Bristol merchant and enthusiast of the ring, he trains gutsy Ruth as a puglist. Soon she rules the blood-spattered sawdust at the infamous Hatchet Inn.Dryer's wife Charlotte lives in the shadows. A grieving orphan, she hides away, scarred by smallpox, ignored by Dryer, and engaged in dangerous mind games with her brother.When Dryer sidelines Ruth after a disastrous fight, and focuses on training her husband Tom, Charlotte presents Ruth with an extraordinary proposition. As the tension mounts before Tom's Championship fight, two worlds collide with electrifying consequences.The Fair Fight will take you from a filthy brothel to the finest houses in the town, from the world of street-fighters to the world of champions. Alive with the smells and the sounds of the streets, it is a raucous, intoxicating tale of courage, reinvention and fighting your way to the top.

    Told with humour and insight, it looks back across the decades at the life of this close knit, notorious East End family. Maureen Flanagan, a then 20 year old hairdresser started visiting the Kray family home in Vallance Road each week to give the twins’ mother, Violet, her weekly shampoo and set. Over the cups of tea and the rollers and hairpins, Violet began to confide in ‘Flan’ about her life, her incredible pride in her twins, the celebrities who visited her at their humble East End home - and her troubled relationship with her husband.

    Only after marriage will trusting and idealistic Cassie discover that Montague is not all that he seems. Nancy Winfield, born to the workhouse and betrayed by her protectors, is quick to recognize the preacher’s evil intentions. Imprisoned in a dangerous marriage and deceived by her sister, Cassie finds an ally in Nancy, and a friend in widower Allan Hunter, who is a victim of Montague’s twisted schemes. Beneath the surface of Cassie’s staid existence perverse and deadly passion run deep, threatening a tragedy that only Nancy Winfield’s loyalty – and Cassie’s courage – can prevent

    This new edition contains the updated book and lyrics from the smash Broadway production starring Neil Patrick Harris of John Cameron Mitchell and Stephen Trask’s landmark American musical.

    Thomas-born, Florida-raised poet Nicole Sealey’s work is restless in its empathic, succinct examination and lucid awareness of what it means to be human.The ranging scope of inquiry undertaken in Ordinary Beast—at times philosophical, emotional, and experiential—is evident in each thrilling twist of image by the poet. In brilliant, often ironic lines that move from meditation to matter of fact in a single beat, Sealey’s voice is always awake to the natural world, to the pain and punishment of existence, to the origins and demises of humanity. Exploring notions of race, sexuality, gender, myth, history, and embodiment with profound understanding, Sealey’s is a poetry that refuses to turn a blind eye or deny. It is a poetry of daunting knowledge.

    Her new group of friends are tight; the kind of girls who Harper knows have her back. But Harper can't escape the guilt of her twin sister's Jenna's death, and her own part in it - and she knows noone else will ever really understand.But new girl Kirsty seems to get Harper in ways she never expected. She has lost a sister too. Harper finally feels secure. She finally feels...loved. As if she can grow beyond the person she was when Jenna died.Then Kirsty's behaviour becomes more erratic. Why is her life a perfect mirror of Harper's? And why is she so obsessed with Harper's lost sister? Soon, Harper's closeness with Kirsty begins to threaten her other relationships, and her own sense of identity.How can Harper get back to the person she wants to be, and to the girls who mean the most to her?A darkly compulsive story about love, death, and growing up under the shadow of grief.

    For each, the chaos of what has come before brings with it a painful legacy.“I have Stayed. I have Stayed – I have Stayed for as long as I possibly can.”

    . . . Ruhl writes with the imaginative sweep that allows Woolf's poetry to soar."—Variety"Sarah Ruhl's smart new translation [of Three Sisters] feels just right to contemporary American ears—lean, colloquial, and conversational for us and true to Chekhov's original work."—The Cincinnati EnquirerIn her stage adaptation of Virginia Woolf's gender-bending, period-hopping novel, award-winning playwright Sarah Ruhl "is her usual unfailingly elegant, unbeatably witty self, cleverly braiding her own brand-name wit with Woolf's" (New York )magazine. Preserving Woolf's vital ideas and lyrical tone, Ruhl brings to the stage the life of an Elizabethan nobleman who's magically transformed into an immortal woman. In her fresh translation of Three Sisters, the Anton Chekhov classic of ennui and frustration, Ruhl employs her signature lyricism and elegant understanding of intimacy to reveal the discontent felt by fretful Olga, unhappy Masha, and idealistic Irina as they long to leave rural Russia for the ever-alluring Moscow.Sarah Ruhl's other plays include the Pulitzer Prize finalists In the Next Room (or the vibrator play) and The Clean House, as well as Passion Play, Dean Man's Cell Phone, Demeter in the City, Eurydice, Melancholy Play, and Late: a cowboy song. She is the recipient of a Whiting Writers' Award, a PEN/Laura Pels Award, and a MacArthur Fellowship. Her plays have premiered on Broadway, Off-Broadway, and in many theaters around the world.

    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.

    It's about a bus trip really, because it's my view from the Number 12 bus (mostly top deck, the seat at the front on the right), a double-decker that plies its way from Dulwich, in South East London, where I was living, to where I sometimes work - at the BBC, in the heart of the capital. It's not a sensible way to write a memoir at all, probably, but it's the way things pop into your head as you travel, so it's my way'.From London facts including where to find the blue plaque for Una Marson, 'The first black woman programme maker at the BBC', to discovering the best Spanish coffee under Southwark's railway arches; from a brief history of lady gangsters at Elephant and Castle to memories of climbing Mount Sinai and, at the request of a fellow traveller, reading aloud the Ten Commandments; from the story behind Pissarro's painting of Dulwich Station to performing in Footlights with Emma Thompson; from painful memoires of being sent to Coventry while at a British boarding school to thinking about how Wombells Travelling Circus of 1864 haunts Peckham Rye;from anecdotes about meeting Prince Charles, Monica Lewinsky and Grayson Perry to Bake-Off antics; from stories of a real and lasting friendship with John McCarthy to the importance of family and the daunting navigation of the Zambezi River in her father's canoe, this Sandi Toksvig-style memoir is, as one would expect and hope, packed full of surprises. A funny and moving trip through memories, musings and the many delights on the Number 12 route, Between the Stops is also an inspiration to us all to get off our phones, look up and to talk to each other because as Sandi says: 'some of the greatest trips lie on our own doorstep'.