LITMIR.BIZ

It’s January 28th 2011 and Egypt stands on the brink. For Layla and Hisham, a young couple living in downtown Cairo, a dictatorial and corrupt government is only one of their problems. As the world shifts, cataclysmically, around them, some long-hidden secrets threaten to emerge and tear them apart. Based on extensive interviews in Cairo with revolutionaries and soldiers, journalists and cab drivers, this new drama depicts both a revolution in progress and the society from which it sprang.

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Modern Voice: Working with Actors on Contemporary Text has been designed to follow on from Catherine’s previous book, Classic Voice: Working with Actors on Vocal Style, focusing on the less defined demands within contemporary drama. Lifting contemporary speech rhythms off the page can be a challenge for actors. Sometimes these rhythms are realistic, resembling or mirroring the speech patterns of real human beings, sometimes they are non-realistic, distorting speech patterns for particular effect. [i]Modern Voice not only provides an accessible approach for understanding speech rhythm but also presents an overview of different types and styles of contemporary text (including the rise of dramatic realism in England, America and Australia). Along the way there are a myriad of practical ideas for directors, lecturers, teachers, trainers and coaches to explore in their workshops and rehearsals.

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Berlin. 1973.A soprano lies dead on a blanket.The human mind will not function when it is hot. Only when it is cool and dispassionate.If you are not careful you will no longer be human. If you are not careful you will become animals covered in sand. You are our descendants. You are very special.Some of you are to be precisely registered and preserved. You will become our most important historical monument.’Bessie and Jessie have been stuck in a bombed ballroom. They are also stuck together. There appears to be no escape. Bessie is happy to be stuck. Surely it is better than being alone? Jessie often went blue as a child.Jessie clutches the last unopened Christmas present.They are instructed by a voice, The Special Detachment, who only eats strawberries, and keeps the world in order.Bessie and Jessie have a model train set. The train is driven by a live rodent. The train has been moving for too many years.The train is about to fall off its tracks.

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A collection of self contained one-man shows which brilliantly re-imagine four of Shakespeare's well known plays through the eyes of the bit parts. I, Malvolio re-imagines [/i]Twelfth Night[/i] from the point of view of Shakespeare's pent-up notoriously wronged steward. A story of lost dignity, prudery, practical, jokes and bullying that draws us deep into the madness of Shakespeare's classic comedy. I, Banquo : A blood-shot, story-telling journey into the heart of Shakespeare's Macbeth , told through the eyes of his murdered best friend. Classic theatre and modern story-telling combined, accompanied by a heavy-metal-guitar-playing thirteen-year-old Fleance, a severed head and 32 litres of blood. I, Caliban : Events on Prospero's island as viewed by Caliban, a puppy-headed monster alone on the island at the end of The Tempest , alone with his memories, his magic tricks and one last bottle of wine. I, Caliban is a sweet and sorry tale about injustice, inebriation and missing your mum. I, Peaseblossom : The story of A Midsummer Night's Dream as re-lived through the fevered nightmares of Shakespeare's most neglected fairy. Funny, heart-breaking and ever-so-slightly crazed, I Peaseblossom is a gloriously anarchic dream of a dream , perfect for children and adults alike.“This brilliant collection of re-imagined stories is a perfect introduction to Shakespeare for students of all ages. They are funny, fresh, intriguing and poignant, and use a supreme storyteller’s skill to bring us into the worlds of some of Shakespeare’s best-loved characters and plays. A must for all teachers who want to excite and inspire their students about Shakespeare’s work and the possibilities of theatre.” – Jacqui O’Hanlon,Director of Education, Royal Shakespeare Company

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Outrageously zany and filed with non-stop surprises, Simon Reade’s theatrical adaptation of The Scarecrow and His Servant, renowned author Philip Pullman's fictional children's tale, is an enchanting play for young readers and performers. Delve into the magical world of Scarecrow as you accompany him as Jack, his trusty help-mate, and together you can embark on adventures that will make your head spin. From dodging dangerous bandits and surviving terrifying shipwrecks, to soaring through the skies with wild birds, this play is a roller-coaster ride of never-ending escapades. But when the river-polluting Buffaloni tyrants catch up with you for a final showdown, who will come to your rescue and save the day?A production of The Scarecrow and His Servant ran at the Southwark Playhouse in December 2008-January 2009.

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South African writer Craig Higginson’s powerful new play is a dark, witty and sexually-charged psychological drama told through the eyes of a beautiful English teacher and her French-Congolese pupil. A ‘state of the nation’ exploration of the tensions between the first and third worlds the play explores issues around language, power, identity, sex, past trauma, class, exile and refugees. An exciting new co-production from the internationally-renowned Market Theatre from South Africa and two of the UK’s most prestigious theatre companies.'This gripping two-hander is a highlight of the Traverse programme. Higginson packs a lot in under the seemingly innocuous guise of a young English woman giving language lessons to a French-Congolese student in contemporary Paris'– Fiona Mountford, Evening Standard 'Higginson is clearly gifted. He not only filters pressing concerns about race, prejudice and power through a highly charged two-hander, but he wraps it all up in a witty discourse about language itself.'– Daily Telegraph 'It is unusual and fascinating to see a play investigate the extent to which words can shape our thoughts and feelings as much as vice versa.'– Financial Times

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‘You think it is pleasant watching a fat virgin become infertile? I want to be seen and noticed and invited by people. I want anything… that is not this.’Past her prime, Min joyfully spends her life caring for her sick, foul-mouthed mother, Balbir. Today, for the first time in years, they´re off out. Mother and daughter head to the local Sikh Temple, but when Balbir encounters old friends, a past trauma rears its ugly head. Min and Balbir´s illusions are about to be shattered as they become immersed in a world of desperate aspiration and dangerous deals.In a community where public honour is paramount, is there any room for the truth? Behzti was scheduled to open at The Door (Birmingham Rep) in December 2004 but was cancelled due to protests by some members of the local Sikh community.

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Irish Blood, English Heart is an exploration of how memories, real and imagined, can shape our lives.Ray is a charming, enigmatic and successful comedian turned author. His brother Con is a London taxi driver struggling to keep his family together and bruised by his brother's success. When the two meet in a mysterious lockup following their estranged father's death, raw memories and unspoken truths come spilling out.

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So we beat on, boats against the current, borne back ceaselessly into the past.‘F. Scott Fitzgerald’s novel The Great Gatsby was first published on April 10, 1925. Set on Long Island’s North Shore and in New York City during the summer of 1922, it is the story of an attractive young man, hopelessly in love, who, having worked so hard to improve himself so he can win back the woman he loves, finds himself in a world where money has replaced humility and despair has replaced hope. For me, the novel is a comment on the values and cynicism of east coast America almost a hundred years ago, a time when a section of society had suddenly become very wealthy and the American Dream was for most, nothing more than the mere pursuit of money.’ Peter Joucla‘Peter Joucla’s surprisingly clear-eyed adaptation cuts to the heart of Fitzgerald’s text while preserving a very decent amount of it.’ 4 stars – Evening Standard ‘Evoking all the glamour and atmosphere of the roaring twenties, Wilton’s brings Gatsby to glorious, all-singing, all-dancing life (jazz hands optional). A must-see’ – welovethisbook.com ‘An unashamed nostalgia party for a world we never knew… This is a show that majors in fun; and it’s no surprise to see it’s a cult hit.’ Telegraph

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Written in Brighton in 1887, Dandy Dick is tells the hilarious story of the Very Reverend Augustin Jedd, a pillar of Victorian respectability, who preaches regularly against the evils of horse racing and gambling. However, a visit from his tearaway sister, Georgiana, leads him to risk all at the races, much against his better judgement. Mayhem ensues, with romantic intrigue, mistaken identity and a runaway horse. A glorious British comedy, Dandy Dick is a rarely seen treasure that so richly deserves to be revived again, for the first time in almost fifteen years.

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