LITMIR.BIZ

It's the middle of the night when 21-year-old Leo arrives on the doorstep of the West Village apartment where his feisty 91-year-old grandmother Vera lives. She's an old Communist who lives alone, he's a latter-day hippie, recently returned from a cross-country bike trip which ended traumatically. Over the course of a single month, these unlikely roommates infuriate, bewilder, and ultimately connect. When Leo's old girlfriend shows up and he begins to reveal the mysterious events of his journey, Leo and Vera discover the narrow line between growing up and growing old.Peopled with nuanced, beautifully-drawn characters, Amy Herzog's award-winning play has established her as a remarkable new talent. 4000 Miles had its 2011 world première at New York's Lincoln Center Theater.

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In 1997, a BAFTA award-winning British film about six out of work Sheffield steelworkers with nothing to lose took the world by storm. And now they’re back, live on stage, only for them, it really has to be The Full Monty.Simon Beaufoy, the Oscar-winning writer of the film, has now gone back to Sheffield where it all started to rediscover the men, the women, the heartache and the hilarity of a city on the dole.

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Blonde Poison is based on the true story of a Jewish woman during World War II who betrayed up to 3,000 fellow Jews. Gail Louw’s powerful play examines the motivation of evil. Stella Goldschlag was living illegally in war-torn Berlin when she herself was betrayed and tortured. When offered the chance of saving herself and her parents from the death camps, she agreed to be a ‘Greifer’ for the Gestapo and inform on Jews in hiding. She was extraordinarily successful in this and her activities increased after her parents had finally been deported. The vast dimensions of Stella’s character range from tortured victim to cruel killer, from loving daughter to betrayer of friends, from gentle lover to depraved promiscuity. She was given the name ‘Blonde Poison’ by the Gestapo who revelled in her treachery. Decades after the war Stella agrees to be interviewed by a well-respected journalist – her last chance for redemption. Can she ever be released from her past?

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It's true. It's all true for Moby-Dick. He's a killer, he's a fury, he's an angel of hell. Why if the white whale could talk he'd talk like Ahab.' Nantucket. 1851. Centre of a whaling industry that transformed blubber into the oils and candles that lit the world. It's there that a schoolmaster called Ishmael arrives to ship on a whale-boat. He enrols under Ahab, Captain of the Pequod a man bent on destroying the white whale that lost him his leg. Certain the destruction of his nemesis will slake his thirst; Ahab's single-minded pursuit of Moby-Dick consumes Ishmael, the crew and the Pequod itself. The spirit and atmosphere of Herman Melville's masterpiece romantic, ambiguous, characterful and rich with allegory is captured on stage by simple8 with 'a treasure chest of talented actors, impressive musicians and intelligent scripting and directing' – New Statesman.

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Retired entrepreneur William invites his four grown-up children to visit his beautiful converted barn in the Welsh Borders to celebrate his birthday. They all join with William’s carer Solomon to toast another year, but each of them has their own business in mind…Warm, intelligent, witty and moving, Family Business is the world premiere production of Julian Mitchell’s new play, looking at the complex relationships that underpin family life.‘a very clever play, and a witty one as well…The succession of one-liners flows copiously’ 4 stars – What's On Stage ‘Julian Mitchell is part of a vanishing breed: the fastidious craftsman who knows how to explore ideas while generating suspense. It is clear that the play is, in part, a modern-day Lear… immensely watchable’ – The Guardian

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Alan loves his work. He doesn't love his wife, his mother or his only child, so he aims to break free and live for himself. Alan’s going to sort this mess out – this huge, horrific mess that is his life. He’s got a plan. He’s going to stop playing the husband, the father, the son and find himself. He’s going to sort it out once and for all. Bodies Unfinished opens at The Brockley Jack Theatre on 12th July 2011.

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2011 Fringe First Award Winner‘Henry, are you awake?’Henry lives each day like the last. Exactly like the last. Every day, he tries to make sense of the world around him; the girl sitting on the lawn outside his window, the pages of a book filled with the same sentence, the 80 year old man looking at him in the mirror.In 2009 Patient H.M.’s brain is dissected live on the internet to a global audience of 400,000 people, cut into carefully preserved slices: manuscripts of tissue like the pages of a book.In 1953 Henry Molaison emerges from experimental brain surgery without any recollection of the last two years of his life or the ability to form new memories.In 1935 nine-year old Henry is knocked over by a bike, leaving him unconscious for five minutes.Following Analogue's critically acclaimed Mile End and Beachy Head and inspired by the world’s most important neuroscientific case-study, 2401 Objects tells the remarkable story of a man who could no longer remember, but who has proven impossible to forget.‘I defy anyone not be drawn into this deeply moving examination of life, death and memory.’ – Telegraph ‘2401 Objects is a solid, well-researched piece of theatre that adds to Analogue's ever-growing canon of work.’ – Total Theatre Review ‘Beautifully-sculpted… an understated and outstandingly gentle piece of theatre’ - The Scotsman

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The Fence in its Thousandth Year was inspired by the long distance fence whilst it was under construction in the Gaza to separate the Palestinian and Jewish communities.Set in a world of rising frontiers and illegal immigration, The Fence uses powerful poetic language, provocative ideas and rich, dark humour to build a compelling epic about scandal in a ruling monarchy and its subsequent downfall.At the heart of this tale is the intensely personal story of a blind boy’s struggle to discover his true identity in a world where nothing is what it seems… The Fence , produced by the Wrestling Company, opened at the Birmingham Rep in June 2005, followed by a UK tour.

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Includes the plays I Saw Myself , The Dying of Today , Found in the Ground and The Road, the House, the Road Howard Barker is one of the most significant and controversial dramatists of his time. His plays challenge, unsettle and expose. In I Saw Myself a woman's longing to understand her compulsion to transgress the laws of her society comes into collision with the conventions of an art form. In the weaving of a tapestry Barker's13th century heroine privileges private life over public responsibility. If she is cruelly punished she is also granted self-awareness. A critical moment in social decay is also at the centre of The Dying of Today , in which a stranger who luxuriates in the telling of bad news observes the effects of his devastating narrative on a humble barber. The barber's recovery from pain, and the beauty of his sensibility, bring the two strangers into an emotional proximity. Barker's most experimental work in form and content is probably Found in the Ground , a mobile, musical work set during the last days of an aged Nuremberg judge whose baying hounds and burning library form an uncanny background to his wayward daughter's struggle to make meaning from the atrocities of the 20th century. The contradictions of the humanist personality are explored in The Road, the House, the Road . Erasmus' obscure colleague Aventinus was found dead on a wintry road. How he arrived at his solitary death forms the subject of this speculation on scholarship, mischief and the murderer's vocation.

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Wesker On Theatre is a collection of essays by one of Britain's most well-known, prolific and controversial writers, which explores his thoughts on drama and the theatre gained from a writing career that spans fifty years.Wesker brings together for the first time an assortment of theatre pieces exploring such subjects as The DNA of a Play; The Nature of Dialogue; The Nature of Development; Can Playwrights be Taught to Write Plays; Interpretation – To Explain or Impose , and many others that attempt to elucidate the shifts of thought he has negotiated throughout his long career. Often controversial, Wesker On Theatre is a challenging and thought-provoking volume.

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