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.

    Then the economy collapses, and it’s hard to surmount the reality ahead: they are about to sink their entire savings into rebuilding a new house they can’t afford while trying unsuccessfully to sell the one they already own. Will Janie back herself so far into a corner that she’ll find herself homeless before she finds herself a home?From crushes on contractors to frenzied shopping expeditions to the erection of a cupola that looks a little too phallic for her upscale new neighborhood―or really any neighborhood!―Janie navigates the pitfalls of building. Along the way, she deals with a con artist kitchen designer, a construction worker and architect who fight like schoolgirls, and a tile guy who turns her shower into a pornographic work of art, all while struggling to stay out of debt and keep her marriage going. In the end, she comes face to face with her flaws and learns that dreams can be achieved―but the only way to authentic happiness is through truth and acceptance.

    Having been left with no choice, she becomes a governess to earn her living. Fortune smiles on her, though, when she is assigned to a little girl that quickly warms her broken heart. Life takes a terrible turn when the child's parents die, and she is tasked with bringing the girl to her new and mysterious guardian. Even though she can't stop thinking about him ever since she met him, she knows that she has to put love aside and stand by the little girl who needs her more than ever. Will she manage to protect the lonely child and win a place to her charming guardian's heart? Would life finally hand her a happy ending?Lord John Hughan is running out of time, as he has only one year to prove to his brother that he can succeed as an author or else he will lose his inheritance for good. It doesn't seem his life could get any more complicated until a strange woman appears on his doorstep with the orphan that has been left in his custody. With each passing day, he becomes very protective to the little girl, and he finds himself drawn to the most loving governess he has ever seen. But his family's constant deterrents will make his life a whirlwind, forcing him to reach decisions that will deeply hurt his heart. Will John manage to keep both ladies safe? In the end, will he follow his heart and make his dreams come true?Though the timing is all wrong, Bridget and John cannot turn their back to their growing affection. However, Bridget carries the guilt of a secret that could rip all her happy dreams, if ever discovered. Will John and Bridget claim each other's heart before the last rose petal of their love falls? Will they become the parent figures that the lovely girl deserves and heal her broken heart?"How to Claim a Governess's Heart" is a historical romance novel of approximately 80,000 words. No cheating, no cliffhangers, and a guaranteed happily ever after.

    Upon its publication in 1963, An Actor's Handbook quickly established itself as an essential guide for actors and directors. Culling key passages from Stanislavski's vast output, this book covers more than one hundred and fifty key concepts, among them 'Improvisation', 'External Technique', 'Magic If', 'Imaginary Objects', 'Discipline', 'What Is My System?' and 'Stage Fright'.This reissued, attractively packaged edition will be an essential book for any performer.

    The musical tale of a domineering stage mother's inadvertent creation of a burlesque stripper, now available in paperback for the first time.

    Using the format of an end-of-term play, the new drama teacher's progress through two terms of recalcitrant classes, synical colleagues and obstructive caretakers is reviewed. Disillutioned, he departs for a safer private school.

    

    Two sisters. One Ghost. An impossible sacrifice.Feuding half-sisters inherit a cottage on the Italian coast, along with its resident spirit and a secret manuscript. Their rivalry explodes through a struggle for control of their haunted house, but Italy infuses its magic into them until a shocking night changes everything for the sisters and their friends.A tale of sisterhood and the supernatural, perfect for fans of Mary Ellen Taylor and Barbara O'Neal."Two sisters, very different, both love and frustrate each other. When their father dies, they are co-inheritors of his house in Italy and must agree on what to do with it. They descend on the house and, slowly and gently, come to terms with their differences and reinforce the love they’ve always had for each other ... Romance blooms in all directions as each sister finds what she most needs, in a most surprising way." – Diane Byington, author of WHO SHE IS

    Through the dramatic characterization of the famous physicist, Brecht examines the issues of scientific morality and the difficult relationship between the intellectual and authority. This version of the play is the famous one that was brought to completion by Brecht himself, working with Charles Laughton, who played Galileo in the first two American productions (Hollywood and New York, 1947). Since then the play has become a classic in the world repertoire. "The play which most strongly stamped on my mind a sense of Brecht's great stature as an artist of the modern theatre was Galileo." - Harold Clurman; "Thoughtful and profoundly sensitive." - Newsweek.

    What does she have that she doesn't? Isabel isn't prepared for the online vitriol from rising star Iain's obsessive fans. Is he being totally honest about his past? As both women's lives begin to unravel, they will realise that you can't always get what you want, and sometimes, love can turn into obsession... A dark psychological thriller about break-ups, jealousy and obsession, from the winner of Psychologies' thriller writing competition.

    Includes: Hamletmachine, Correction, The Task, Quartet, Despoiled Shore, and Gundling's Life. One of the most original theatrical minds of our time, Müller, who resided in East Berlin before his death in 1995, was a frequent collaborator of Robert Wilson.

    Through imaginary letters and documents, Wilder brings to life a dramatic period of world history and one of its magnetic personalities.In this novel, the Caesar of history becomes Caesar the human being as he appeared to his family, his legions, his Rome, and his empire in the months just before his death. In Wilder’s inventive narrative, all Rome comes crowding through his pages. Romans of the slums, of the villas, of the palaces, brawling youths and noble ladies and prostitutes, and the spies and assassins stalking Caesar in his Rome.

    Banks learns that one of the young men he has seen occasionally about the house is about to become his son-in-law. Daughter Kay announces the engagement out of nowhere. Mrs. Banks and her sons are happy, but Mr. Banks is in a dither. The groom-to-be, Buckley Dunstan, appears on the scene and Mr. Banks realizes that the engagement is serious. Buckley and Kay don't want a "big" wedding just a simple affair with a few friends! We soon learn, however, that the "few" friends idea is out. Then trouble really begins. The guest list grows larger each day, a caterer is called in, florists, furniture movers and dressmakers take over, and the Banks household is soon caught in turmoil.

    When Pius IX was elected, the pope was still a king as well as a spiritual leader, welcomed by the citizens of the Papal States who hoped he might bring in modern reforms, such as a constitutional government, after the repressive rule of Pope Gregory XVI. In the first year of his rule, Pius IX tried to please his subjects with incremental changes while holding onto absolute authority he believed was divinely ordained. But, as the revolutionary spirit of 1848 swept through Europe, the Pope found he could not have it both ways. By the end of his rule, the Papacy--and Europe--had completely transformed. In The Pope Who Would Be King, David Kertzer tells the story of the revolution that spelled the end of the papacy as an earthly rule and the birth of modern Europe.

    As the teachers struggle daily to nurture and groom, the students prefer to hang out and “chillax”. With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach.Written by Singapore’s most prolific playwright Haresh Sharma, Those Who Can’t, Teach was first staged by The Necessary Stage in 1990 to critical acclaim. Twenty years later, Sharma revisits this classic to revitalise it for the Singapore Arts Festival 2010, transforming it into a powerful portrayal of the pressures and challenges facing teachers (and students) in schools in the 21st century.“The play throws up questions on the roles of parents, students and teachers, but does not collapse into an impotent tirade against society. The script is joyous. The laughter is warmly wry, not caustic.” —The Straits Times“Those Who Can’t, Teach does much to do away with the stereotypes and fallacies of the teaching profession.” —The Business Times