LITMIR.BIZ

Friendships grow in the most unlikely of places. Mrs Reynolds is a little old lady. Jay is a troubled youth. When he vandalises her lovingly tended garden, the authorities send him back to help her fix it. It seems a recipe for disaster – but human beings are more complex than the headlines.At first glance this is a simple tale of two generations locked in battle, Mrs Reynolds standing up for traditional values with her «nice little house, nice little garden and nice little life» vs. Jay, the textbook chain-smoking hoodie prowling the urban jungle demanding respect but offering little in return. But there is more to these characters than the other suspects. Just as they think they have the measure of each other, something is revealed and they are shocked by what they find out.Mrs Reynolds and the Ruffian explores human nature and friendship alongside the social climate of modern Britain giving a warm, funny and wise glimpse into the way we live now.

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‘This story – the story of making the first show – is our record of how uncertain, optimistic, idealistic and naïve we felt back then. It’s the spark underneath each new version and each fresh company who bring the fuel and the heat to inspire every production of War Horse.’ – Mervyn MillarThis second edition of The Horse’s Mouth follows the production of War Horse, a play adaptation of Michael Morpurgo’s novel, from early concept workshops to one of the most beguiling and original plays ever staged by the National Theatre, the actors working with magnificent,life-sized puppets to take the audience on a gripping journey through history. The Horse’s Mouth is a fascinating, behind-the-scenes story of how this acclaimed and highly technical piece of theatre was achieved. In his new Introduction, Mervyn Millar describes how ‘the journey from improbable idea to long-running show has seen our production change.’

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Charlotte is fifteen and grieving over the loss of her beautiful mother. Her relationship with her father is put to the test as she discovers sex, ambition and ‘beauty product’. Inspired by Euripides but with its sights set firmly on contemporary America, A Brief History of Helen of Troy is an unsettling and startlingly authentic examination of complacency culture and the politics of beauty.

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Daniel is famous. He has walked away from disaster and turned it into art. As he prepares for the ultimate exhibition of his life, the headlines proclaim him unbreakable. But inside, Daniel is falling apart. LJ has always been a survivor, in total command of her emotions. Since being bound to Daniel by a freak accident, she can’t quite seem to get her heart under control. Steph wants to be special, to have her photo in the paper for once, and not just because she’s Daniel’s sister. Can Karl, who claims to be in ‘production’, invent a future where they both get recognised?

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Teenage sisters Affy and Di look out for each other. Dying to escape their violent life, they move from dreams to betrayal – with devastating results. Inside Out, a Clean Break commission, is the provocative and funny story of how the sisters fight for a better future.

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Henry, now in the autumn of his years, is transported back to the key episodes of his life. At once ironic and affectionate, he speaks with his younger self both man and boy, offering warnings of a life to come and advice on how he might live it without the small self-delusions and regrets that leave him ultimately unfulfilled. Warm, funny and always entertaining Hock and Soda Water is a nostalgic lament for a life never lived. Christopher Morahan directs this quintessentially English comedy about the recipe for happiness through the three ages of man at the Chichester Festival Theatre from November 2001.

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Extraordinary stories, ordinary lives. This powerful and moving drama shares the stories of women whose everyday lives have been touched by the recent conflicts in Iraq and Afghanistan. These women, who live in our street, and drink in our local, share their stories with warmth, humour and candour, as they reveal the real lottery of war.“He was a boy. I loaned my son to them to do a job. I didn’t say you could keep him.” Janice Murray, mother of Private Michael Tench, aged 18.Motherland toured the UK in September 2009 in a production by Live Theatre and Empty Spaces.

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The first performance of Look Back in Anger in 1956 ushered in a new period of British theatre, and its success established the previously unknown John Osborne as a new playwright of the first rank. Contrary to popular perception, Look Back was not Osborne's first play to be performed, and two of his early plays had already enjoyed professional productions. Copies of the scripts, thought to have been lost, were rediscovered in the British Library in 2008, and are presented for the first time here.The Devil Inside Him (1950) was the 21 year-old Osborne's earliest attempt at a full-length play, and concerns a young Welshman, Huw, at odds with the hypocrisy and imaginative poverty of his community. It was re-written with help from Osborne's then-lover, Stella Linden.Personal Enemy (1955) was written with Anthony Creighton with whom Osborne later collaborated with on Epitaph for George Dillon. Set in small-town America during summer of 1953 – at the height of the anti-communist witch-hunts – the play tells the story of a family torn apart by a country's political, and sexual, paranoia.

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On the eve of his release from Feltham Young Offenders Institution, Zahid Mubarek, a young British Asian man, was attacked by his racist cellmate. One week later he died of his injuries.How was this allowed to happen? This new play traces the Mubarek family's pursuit of the truth. Based on evidence given to the Zahid Mubarek Inquiry and interviews taken, one of Britain's leading writers examines the incompetence of the official response to Zahid Mubarek's death.

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Lolly Susi's interviews with the actor and teacher George Hall are a unique insight into the mind of a great all-round theatre practitioner. It is a must read for actors,academics, students and theatre buffs. George Hall trained at Old Vic Theatre School and worked as an actor at the Old Vic, in regional theatre, on radio, television and film. He has worked in cabaret, as writer, composer, performer and director. He has composed scores for the Old Vic, Royal Shakespeare Company and for plays for film and television. George was director of the Acting Course at Central School of Speech and Drama for many years. He is currently on the staff of the Guildhall School of Music and Drama.

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