Marcus Hubbard, rich, despotic and despised, made a fortune during the Civil War by running the blockade and worse. In his family life he is equally injurious: one son he bulldozes while the other he holds in contempt for his frailty. By Marcus's side stands his mentally deranged wife and, finally, Regina, the adored daughter amoral, conniving, and beautiful as an evil flower. Marcus, it would seem, has been on the top of the heap long enough and someone must depose him. Turning the tables on a tyrant has always made for high drama, and when Hellman puts her brilliant talents to work on such a theme the result is a play of great theatrical intensity.

    Her departure from the show gave actress Pam St Clement time to reflect, not only on almost 26 years playing a role that she loved, but also on her whole life.Pam's mother died when she was a baby, leaving her with a father whose life didn't really have space for a child. What followed was an itinerant childhood, with various stepmothers and foster families, before an advertisement in The Lady took 11-year-old Pamela to the farm in Devon that was to become her true home, with the 'aunts' who became her surrogate parents. Time on the farm at Dartmoor, where she discovered her love of animals, alternated with life at The Warren boarding school in West Sussex, where she discovered her passion for acting.On leaving school, Pam was unsure of what direction to take but gradually realised that acting was what she wanted to do with her life. So, in 1966, Pam took up a place at drama school. Pam settled in London and worked on stage and television throughout the sixties and seventies, before her first appearance on EastEnders in 1986 and the offer of a permanent role a few months later.This memoir is far more than simply an actor's tale. Quite apart from her fascinating and unique childhood, Pam also recalls her involvement in the women's movement of the 1970s, her lifelong love of animals and the worries about her weight that have dogged her since her teenage years. It is also a tribute to Pat Butcher, for whom Pam retains a huge affection.This incredibly warm memoir reveals the woman behind the popular EastEnders' character, a woman who, apart perhaps from her earrings, couldn't be more different from Pat.

    

    Always will be..."For over ten years, they were inseparable....All it took was one night to shatter it to pieces.Three years later and Savannah Slate is still trying to put that night behind her—but that’s hard to do when Ryan is everywhere.The bar she works at.The apartment complex she lives in.Hell, even her dad is best friends with his parents!There is no avoiding Ryan Madden, so she does what she does best:Pretend that night didn’t happen.Pretend they’re still best friends.Pretend she’s still the girl he used to tell, “You’re my number one. Always will be.”The thing with pretending, is reality always manages to slap you in the face. What better way than to have those words spoken—from him, to someone else—on reality television?Needing to escape, Savannah goes to the one place no one will find her. She just needs a few days to decompress before the country goes into lockdown mode.Except there's just one tiny problem...Ryan’s hiding there too.

    There are boilers to be fixed, cats to be fed, and the perfect funeral to be planned. As a mother researches burial spots and biodegradable coffins, her family is finally forced to communicate with her and each other as they face up to the future. A dark comedy about death and life going on.

    Shortly after, he came back to Stratford to play Richard III – a breakthrough performance that would transform his career, winning him the Olivier and Evening Standard Awards for Best Actor. Sher’s record of the making of this historic theatrical event, Year of the King, has become a classic of theatre writing, a unique insight into the creation of a landmark Shakespearean performance.More than thirty years later, Antony Sher returned to Lear, this time in the title role, for the 2016 RSC production directed by Gregory Doran. Sher’s performance was acclaimed by the Telegraph as ‘a crowning achievement in a major career’, and the show transferred from Stratford to London’s Barbican. Once again, he kept a diary, capturing every step of his personal and creative journey to opening night.Year of the Mad King: The Lear Diaries is Sher’s account of researching, rehearsing and performing what is arguably Shakespeare’s most challenging role, known as the Everest of Acting. His strikingly honest, illuminating and witty commentary provides an intimate, first-hand look at the development of his Lear and of the production as a whole. Also included is a selection of his paintings and sketches, many reproduced in full colour.Like his Year of the King and Year of the Fat Knight: The Falstaff Diaries, this book, Year of the Mad King, offers a fascinating perspective on the process of one of the greatest Shakespearean actors of his generation.'One of the finest books I have ever read on the process of acting' Time Out on Year of the King'Antony Sher's insider journal is a brilliant exploded view of a great actor at work – modest and gifted, self-centred and selfless – a genius capable of transporting us backstage' Craig Raine, The Spectator (Books of the Year) on Year of the Fat Knight

    But Betty's luck turns to delicious lunacy when this sensible Everywoman gets drawn into the chaotic world of some very unsavory housemates - her friend Trudy, who talks too much; the lewd, seminaked Buck, who tries to have sex with everyone; and Keith, a serial killer who hides in his room with a mysterious hatbox. With sand between her toes, walking a thin line between sanity and survival, poor Betty will leave her summer vacation more terrorized than tan.

    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.

    His parents retired and moved to Florida. That doesn't mean his family isn't still in Jersey. In fact, he sees both sets of his grandparents every Sunday for dinner. This is routine until he has to tell them that he's been offered a dream job. The job he's been waiting for - marketing executive - would take him away from his beloved, but annoying, grandparents. He tells them. The news doesn't sit so well. Thus begins a series of schemes to keep Nick around. How could he betray his family's love to move to Seattle for a job, wonder his grandparents? Well, Frank, Aida, Nunzio, and Emma do their level best, that includes bringing the lovely - and single - Caitlin O'Hare as bait.

    Stranded and desperate, she finds herself at the mercy of a handsome, brooding mechanic. When he offers her help, she accepts, knowing too well the pain that comes from trusting others.Widower and grieving father, Ben Young, fixes cars and avoids people. He can’t stand to see the pity in their eyes. There’s something different in Amy’s eyes, though, and he’s driven to help her—for her little girl’s sake. But helping means caring, and that’s not something he’s capable of. Not anymore.Just when it looks like a relationship might be possible between Ben and Amy, she realizes her breaking down in this small town wasn’t an accident. She holds the key to what happened to Ben’s family. But will her quest for answers cost her everything?

    What was life? What was love? What else could have been? Full of mordant, bitter humour, this is a passionate threnody from one of Ireland's leading playwrights.Woman and Scarecrow premieres at the Royal Court Theatre, London, in June 2006.

    Blood Wedding tells the story of a couple drawn irresistibly together in the face of an arranged marriage; Doña Rosita the Spinster follows the appalling fate of a young woman beguiled into the expectation of marriage and left stranded for a lifetime whilst Yerma is possibly Lorca's harshest play following a woman's Herculean struggle against the curse of infertility. Set in and around his home territory, Granada, the plays return again and again to the lives of passionate individuals, particularly women, trapped by the social conventions of narrow peasant communities. The plays appear here in new playable translations.