LITMIR.BIZ

Lucifer makes a wager with God and sets out to test the loyalty of his favourite son, King David, Man of Blood. David's eyes are opened and for the first time he glimpses the demon inside his own god-like being. Now David must question the nature of a God who continues to bless him, a 'war criminal' in all he does. What does this say about the God he worships? David determines to set God a test of his own. Seducing the beautiful Bethsebe and sending her husband Uriah back to the front with sealed orders, David inches his way toward a crime any good God must surely punish. Mustn't he? In the battle between heaven and earth which ensues, the innocent quickly fall and David's challenge to God assumes cataclysmic proportions… King David, Man of Blood re-spins a classic biblical tale to devastating moral effect, fetching up on a very modern shore, where horror, tragedy, comedy and a terrible beauty co-exist.

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The Gods Weep focuses on the life of a CEO whose global business fragments around him as he loses his grip on reality. Colm has taken a lifetime to build his empire. With brutal rigor he has shaped the world around him in his own image. As time moves on his decision-making abilities increasingly fail him and the world he has created begins to fracture. The power struggle that ensues reveals the corruption and unstoppable forces at work in a world where corporate greed and national security frighteningly overlap.

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The Live Art Almanac Volume 3 is a collection of ‘found’ writings about and around Live Art that were originally published, shared, sent, spread and read between January 2010 and December 2011. Selected from an open call for submissions and produced with a network of international partners, Volume 3 reflects the dynamic, international contexts in which Live Art and radical performance-based practices are taking place and the many ways they are being written about. Volume 3 features more traditional forms of writing such as newspaper reviews, journal articles, catalogue essays and lecture texts as well as new platforms for critical discourses like blogs, tweets and other emergent online media, to reflect the huge diversity of work and the seismic shifts that have happened in Live Art over the last few years, particularly the unprecedented institutional embrace of performance and the rise and rise of activist practices. The publication is grouped into seven loosely themed sections: Performance and the Institution; The Presence of Performance in Pop Culture and New Media; Performance, Activism and Public Protest; Taste, Trash and Outrageousness; On Stage/Off Stage: Performance and the Theatrical; Festivals, Scenes and Strategies: From the Local to the Global; and obituaries, lectures and miscellaneous writings. The Live Art Almanac Volume 3 is published by Live Art Development Agency and Oberon Books, and was developed in partnership with Live Art UK, Performance Space 122 (New York, USA), Performance Space (Sydney, Australia), La Pocha Nostra (San Francisco, USA), and Maska (Ljubljana, Slovenia), with additional support from Asia Art Archive (Hong Kong), ArteEast (New York/Middle East) and Ashkal Alwan (Beirut).

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Georges Feydeau (1862-1921), the supreme master of farce, devoted his skills to exploding hypocrisy in a very self-important age. An Absolute Turkey (Le Dindon) is one of his best loved plays. He displays all his dramatic tricks as the characters are pulled back and forth by an escalating series of complications. This translation received its London premiere at the Globe Theatre in January 1994.

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Jamaica: a sensual paradise where the sun, sea and sand are free but anything more comes at a price.Welcome to the 21st century where women travel across the world in search of sex, love, and liberation but the reality is that hard cash equals hard men. Toned torsos and slick sweet talk meets orange peel beneath the coconut trees in an exchange that leaves everyone short-changed.Sugar Mummies is a funny, provocative and revealing study of the pleasures and pitfulls of female sex tourism.It was a huge success at the Royal Court Theatre in August 2006, and proceeded to tour throughout the UK.

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‘Of course that’s how it begins: a harmless fairy tale to pass the hours’When Alice Liddell Hargreaves met Peter Llewelyn Davies at the opening of a Lewis Carroll exhibition in 1932, the original Alice in Wonderland came face to face with the original Peter Pan. In John Logan’s remarkable new play, enchantment and reality collide as this brief encounter lays bare the lives of these two extraordinary characters.

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The 40 Minute Tempest recreates the world of Shakespeare's great play as told by Prospero and Ariel as they journey towards Prospero's retirement and Ariel's freedom. Using puppetry, the modern idiom and Shakespeare's verse it magically brings to life the world of Prospero's island.King Ram, based on King Lear, is the story of an old king with a foolish plan to split his lands between his two daughters, and of a ten year old boy's desperate search for a baby's father. Songs and verse create a roller-coaster dramatic ride for children.

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It is the Jubilee! Queen Victoria's Golden Jubilee, 1887. At Tilbury Docks, Rani and Abdul step ashore after the long voyage from India. One has to battle a society who deems her a second class citizen, the other forges an astonishing entanglement with the ageing Queen who finds herself enchanted by stories of an India she rules but has never seen.The Empress uncovers remarkable unknown stories of 19th century Britain, the growth of Indian nationalism and the romantic proclivities of one of our most surprising monarchs.

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Dion Boucicault, the Irish genius of London theatre in the age of Dickens, wrote the brilliantly funny London Assurance in 1841 and thereby created – in Sir Harcourt and Lady Spanker – two of the great comic roles of the English stage, played at the NT by Simon Russell Beale and Fiona Shaw. This stage revival has been brilliantly adapted by the prolific and award-winning playwright Richard Bean.

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There are just too many old people. As a government research body seeks to deal with the problems of a maturing population, a family addresses its own. Lyn’s memory starts to go, Alice takes a fall and even Robbie has to face the signs of ageing. Relations are put to the test across three generations. As are those who enter the increasingly sinister world of State Care. Tamsin Oglesby’s furious comedy confronts head-on our embarrassment and fear about old age. It exposes a society in which compassion vies with pragmatism and, by asking unequivocal questions, it comes up with some extraordinary answers.

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