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A black comedy about ruthless property developers cashing in on the property demand around the London Olympic site, who then find themselves faced with an elderly lady refusing to move out from the last remaining house on their prime site. Andrew Veitch, the smooth-talking iron fist of Golden Future, cannot budge the intrepid Miss Barwick whose conviction that Veitch has come to restore her rotting stairs and floorboards and mend the holes in the roof generates the play's soft-centred humour.

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The plot of this play revolves around a lovable trickster who aims to be helpful in order to be liked. His journey to find his identity ends with him finding his true vocation on the stage. Pedro, The Great Pretender opened at the Swan Theatre, Stratford-upon-Avon, in September 2004.

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After ten years at war, Odysseus returns to Ithaca to find his palace in the hands of violent men. These mortal enemies are overcome but the ghosts of war are not so easily vanquished. Drawing on the Iliad and Odyssey of Homer, and loosely following the model of classical Greek drama, Peter Oswald explores the personal journey behind the fantastic one, and asks what it means to be a hero.

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The ancient Hindu epic poem The Ramayana tells of the journey of Rama, an incarnation of God, to set free his wife Sita from the demon Ravana. This divine story, here set forth in dramatic form, encapsulates the rise of humanity from animal to God. It was produced at the Birmingham Rep in 2000, and at the RNT in 2001

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Bee and Em have been best friends for thirty years: they’re on holiday in rural France, away from the demands of work and family. But just as they’re setting the clocks forward, in steps Chris, a blast from their schooldays’ past. As the evening wears on, the three women joke and fi ght with one another just like the old days. But time plays tricks with memory and some wounds are just too deep to heal. This provocative and hilarious play takes a scalpel to childhood friendships and asks whether we ever get over them.

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Following The Battle of Green Lanes , his prophetic play about the spread of Islamic fundamentalism in Britain's urban melting pots, Cosh Omar returns with a comedy play for our time. Never have issues such as multi-culturalism, racism, sectarianism, Judo-Islamic conflict, faith, sexuality and nationhood been explored with such insightful hilarity. The Great Extension – an outrageous and infuriating farce.

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Welcome to Green Lanes in North London where Erol has been working in his dad’s café since leaving college – he’s a Turkish Cypriot. His best mate Tom is getting grief from mum Anastasia to get married. Tom is a Greek Cypriot like the rest of the gang – Cos, Babs and Chris. Erol’s seeing Maria – another Greek – but she doesn’t want a Muslim to father her child. His dad Remzi and uncle Engin are plotting to get rich back in Northern Cyprus and will sell-up and go, with or without Erol. But, most importantly of all, his two newest friends Abdullah and Kysar have been helping him become a ‘real’ Muslim and join them in the holy fight to re-establish The Islamic State. Erol is now on a path that may change the world – and no one told him that living down Green Lanes would be so complicated. The Battle of Green Lanes is a dangerous new play by first-time writer Cosh Omar. It launched the opening season of work by Theatre Royal Stratford East’s new Artistic Director Kerry Michael.

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A vision of military conflict as a testing-ground for English values. Nightmarish contradictions face a group of soldiers in an isolated farmhouse on the edge of battle. Premiered at the Royal Court Theatre in 1997

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Love, loneliness and longing in the twilight hours – in cities which never sleep, night hawks are falling in love, out of love and over the edge. Inspired by the photography of Nan Goldin, Shadowmouth is about people trying to connect in a landscape of disconnection, the power of desire, and being alone late at night. Combining hypnotic language with arresting dance theatre, this bold and thrillingly new show salutes the underbelly of urban life.

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As London slides from one century into the next, a young man is cursed with the uncanny ability to remain both young and beautiful while descending into a life of heartless debauchery. With its glittering dialogue, provocative imagery and radical questioning of sexual and moral freedoms all brought sharply into focus by this brand-new adaptation, Oscar Wilde’s infamous parable has lost none of its power to provoke and disturb. Using Wilde’s original words, a company of sixteen actors and all of adaptor Neil Bartlett’s trademark theatricality, this new stage version of Wilde’s black-hearted parable was commissioned by and first produced at the Abbey Theatre, Ireland’s national theatre in the autumn season of 2012.

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