Taking his inspiration from Dylan Thomas' Under Milk Wood, Louis de Bernières chose to celebrate his ten years of life in the south London suburb, living above a small shop that had been by turns an outlet for oversized naughty clothes for transvestites, a West Indian hairdressers and a junk shop, by writing of the people that he had known and come to love in his time there.Brilliantly capturing the myriad voices of modern Britain, with their different rhythms of speech and accents, their humour and their tragedy, jokes and gossip, de Bernières' tour de force takes us to the heart of a community and its spirit - the lives and loves, the tears and the laughter of its people.

    A stranger at the next table who has had enough. And a dead man—with a lot of loose ends. So begins Dead Man’s Cell Phone, a wildly imaginative new comedy by playwright Sarah Ruhl, recipient of a MacArthur “Genius” Grant and Pulitzer Prize finalist for her play The Clean House. A work about how we memorialize the dead—and how that remembering changes us—it is the odyssey of a woman forced to confront her own assumptions about morality, redemption, and the need to connect in a technologically obsessed world.

    With his six young daughters, he moves into rented rooms in a Merseyside back street. Meanwhile, Hattie and Maggie, the eldest girls, are trying to hold the family together. Sophie Dransfield's husband, Daniel, takes pity on the poverty-stricken Knells and offers Maggie a job as a maid in the Dransfields' nursery. Maggie's beautiful blonde hair soon catches the eye of Sophie's brother Tom, whose dashing brother, Luke, is equally enchanted by Hattie when she joins the household as a lady's maid. But the fortunes of the two sisters do not run according to plan...

    Mysterious, gloomy castles and open graves at midnight are just two of the Gothic devices used to chilling effect in this 19th-century horror classic that turned an obscure figure from Eastern European folklore into a towering icon of film and literature.

    

    A thriller that actually manages to thrill, and a very dark comedy that twists and spirals towards a completely unexpected ending. This is one play where seeing isn't quite believing and reading the text is the only way to uncover all the clues.

    She's just 17, hates her parents, skives college and prefers life in the chatrooms. What she's looking for is someone honest and direct. Instead she finds Tim, a man twice her age, who thinks she is 11 and a boy.What seems at first to be a case of crossed wires, ends up as an unlikely, and unsettling friendship between the two, which culminates in a shocking, and morally challenging revelation.

    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.

    Use these fully illustrated classic and contemporary plays for reading practice or performance.Each script offers performance notes, character lists, exercises, and glossaries.

    Now available in the Arcade definitive edition, the Lehrstucke (or learning plays) lie at the heart of Brechtian theater.

    With Steffy, his sometime paramour, at his side, Herb decides to take another stab at fatherhood and hopefully this time, get it right.

    It won the 1995 Evening Standard Award for Best Comedy and, the Writers' Guild for Best West End Play."An exceptionally accomplished first play . . . though I know nothing about poker, I testify to the compulsive grip this play exerts and to the accumulation of meanings it ignites in your head."—Financial Times"Patrick Marber's enthralling close-up of the demons which drive compulsive gamblers is among the finest new plays in many a year."—Daily Mail

    Stairs to the Roof is a rare and different Williams' work: a love story, a comedy, an experiment in meta-theater, with a touch of early science fiction. Tennessee Williams called Stairs to the Roof "a prayer for the wild of heart who are kept in cages" and dedicated it to "all the little wage earners of the world." It reflects the would-be poet's "season in hell" during the Depression when he had to quit college to type orders eight hours a day at the International Shoe Factory in St. Louis. Stairs is Williams' revenge, expressed through his alter ego, Benjamin Murphy, the clerk who stages a one-man rebellion against the clock, the monotony of his eight-to-five job, and all the dehumanizing forces of an increasingly mechanized and commercial society. Ben's swift-moving series of fantastic adventures culminate in an escape from the ordinary that is an endorsement of the American dream. In 1941 with the world at war and civilization in danger of collapse, Williams dared to imagine a utopian future as Ben leads us up his stairs towards the Millennium. Stairs to the Roof was produced only twice, once at the Playbox in Pasadena, California, in 1945, and subsequently at the Pasadena Playhouse in 1947. Now, in an edition meticulously prepared by noted Williams scholar Allean Hale, Williams fans can share this play of youthful optimism.

    Adultery. Betrayal. Murder. Hattie Durham committed some Unthinkable Sins in her lifetime, but now she’s gone, leaving her three sons and their wives behind to deal with the fallout. THE SONS… Junior – wants to escape his past as he learns the truth about how his mother died. But will his need for revenge and his own past sins come between him and the family he loves? Carl – has been carrying a terrible secret alone all these years and can’t bear the weight anymore. Can he keep it together with his family’s help or will the burden break him? Jerome – is blessed with everything a man could want – influence, power and a destiny to fulfill. But when life deals him an unexpected blow, will the family have his back or will they fall apart around him? …AND THEIR WIVES Donetta – finds her self-confidence growing along with her doubts about her husband’s fidelity. Are their marriage vows enough to keep her in the family now that she has what it takes to make it on her own? Trudy – senses the strain on the family in the wake of her mother-in-law’s death. Will she able to help keep the ones she loves from self-destructing or is her own life in danger? Susan – managed to escape an uncertain past, leaving behind a few bodies in her wake. Will her dreams of love and success finally come true or ultimately be overshadowed by Hattie Durham’s death? Find out now in UNTHINKABLE SINS 2: The Family

    She doesn’t go to school and never leaves the flat by day. Sensing in each other a kindred spirit, the two become devoted friends. What Oskar doesn’t know is that Eli has been a teenager for a very long time…Jack Thorne's adaptation of Let The Right One In premiered in June 2013 at the Dundee Rep Theatre in a production by the National Theatre of Scotland, before transferring to London's Royal Court Theatre in November 2013.