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Dr Richard Garfield has given Ursula a difficult choice. She is the Mother Superior in waiting of a convent that has been given the opportunity to take part in his revolutionary scientific study. This American study would require that the nuns donate their brains after death to potentially unlock the mysteries of Alzheimer’s and dementia. Ursula must weigh up the value of preserving her faith, versus embracing science. The study is agreed and Richard and his team come to the convent every year to test the nuns who are willing to take part. This union will change their lives forever. For Ursula, with the impending pressure of taking over the ailing convent, the study brings more challenges than she could ever have imagined and rocks her faith and her hitherto cloistered existence to its core. Drawing on research contained within the book and study Aging with Grace , 27 is an extraordinary examination of a lifestyle in decline, but it could hold the key to the issues of our times – our ageing population and the decline of our minds.‘An important play about the ageing mind, faith and science.’ – Vicky Featherstone, Artistic Director, National Theatre of Scotland‘A fearless study of doubt, loss and belief… spellbindingly good.’ – The Herald ‘It's a masterful piece of new theatre, dense with ideas, jumping with funny lines.’ – Independent

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When a young Electra’s father is murdered by her mother, her world changes irrevocably. Ten years on, bound by grief and unwilling to forgive, Electra surrenders to an all-consuming desire for revenge that propels her towards a bloody and terrifying conclusion. This is a haunting new version by Nick Payne of Sophocles’ tragic masterpiece, Electra.‘Nick Payne’s urgent new version of Sophocles' Electra is another in a long line of boundary breaking offerings…. Payne [is] one of our brightest new playwrights… Electra-fying’ – The Evening Standard ‘Poised and punchy’ – The Arts Desk

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Behold the newest nobody of the funniest century yet. He’s almost Christ-like, from a distance, in terms of height and weight. Listen closely or drift off uncontrollably, as he speaks to you directly about the notion of home, about the notion of the world. All of it delivered with the authority that is the special province of the unsure and the un-homed, which is a word he made up accidentally. The running time, if he doesn’t die or think of anything else, is roughly one hour. Title and Deed is a provocative new work by Pulitzer Prize finalist and Horton Foote Prize winner Will Eno, whom The New York Times called ‘a Samuel Beckett for the Jon Stewart generation.’‘A haunting and often fiercely funny meditation on life as a state of permanent exile… The marvel of Mr. Eno’s voice is how naturally it combines a carefully sculptured lyricism with sly, poker-faced humor. Everyday phrases and familiar platitudes -“Don’t ever change,” “Who knows” – are turned inside out or twisted into blunt, unexpected punch lines punctuating long rhapsodic passages that leave you happily word-drunk.’ – New York Times ‘The piece proves to be an always fascinating and surprisingly moving 70 minutes of theater…What emerges from his humorous, sometimes stream-of-conscious patter is a heartfelt exploration of the transience of everything in this life, from words themselves to relationships to our very existence.’ – Theatermania

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A young man rushes to reach the bedside of his dying father, but arrives too late. His younger brother was present at the death, but his attitude is strangely ambiguous, and the elder brother becomes suspicious. The intentions of the dead man's mistress are also unclear. The mourners become increasingly consumed by feverish imagining, building a powerfully tense atmosphere as their characters start to disintegrate.This new play by international dramatist, poet and theorist, Howard Barker, toured in a production by The Wrestling School theatre company in 2005.

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Includes the plays Claw , Ursula , He Stumbled and The Love of a Good Man The plays in this volume range over twenty years, beginning with Barker's first major work for the stage, Claw , a study of urban discontent and political impotence, developed over three stylistically contrasting acts. Its terrible conclusion marked the debut of a vivid dramatic imagination. In Ursula Barker's engagement with the pains of the past, and his way of reinvigorating ancient arguments reaches a high point in his treatment of the legend of St Ursula and the martyrdom of 11,000 virgins, where the virtues of celibacy and marriage are set against the catastrophic passion of a woman described as a 'perfect liar'. Barker's scrutiny of the body and its complex meanings is never more intense than in He Stumbled , the tragedy of a celebrated anatomist whose last dissection becomes his own. The body as a site of political and personal investment is also at the heart of The Love of a Good Man , an early work set on the empty battlefields of the Great War, where the burial of the dead becomes a pretext for private ambition as well as national grief.

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Just Adrian is a patchwork tour of a legendary playwright, poet and activist’s life in the theatre. It is a fascinating first-hand account of groundbreaking productions featuring figures like Kenneth Tynan, Peter Brook and Peter Hall as well as adventures in alternative theatre. These writings explore Adrian’s many interests, from drama for children to musical theatre, in a voice that combines playful irreverence with compassion and insight. Taken together, they are a funny, moving testament to a great theatre lover. “A window into the soft and beautiful genius that was Adrian Mitchell.” – Camden New Journal “A tribute, an autobiography and a quirky portrait.” – The Stage

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The White Rabbit is late for the Duchess. The Cheshire Cat won’t stop grinning. And the Hatter is, well, mad. In the middle of it all is Alice, a young girl with a vivid imagination and a family life that’s less than perfect.In this new adaptation by renowned playwright and Sheffield native, Laura Wade, you can follow Alice as she escapes her bedroom to find adventure in a topsy-turvy world. Based on Lewis Carroll’s classic tale, Wade’s adaptation breathes fresh life into a much-loved story about rabbit holes, pocket watches and talking caterpillars.‘Fabulous fun, as Laura Wade grabs hold of Lewis Carroll's classic and runs with it. Furiously inventive and wonderfully designed. Lyndsey Turner's production is as mad as a bag of trifle’ – The Critical List - Sunday Times Culture Magazine ‘In Laura Wade's engaging new version of Lewis Carrol's Alice in Wonderland a classic is given a wonderfully ingenious twist.’ – Lynne Walker, The Independent[i] ‘Laura Wade grabs hold of Lewis Carrol's classic and runs in this furiously inventive adaptation’ – David Jays, [i]Sunday Times

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Three not-so-alpha males are AWOL in Iceland.Then the Vikings arrive.Mountains, myths and middle-class angst, in a new play about friendship and modern masculinity.And the weather.‘Warm, funny, spot-on comedy with dark undertones – very entertaining’ – Whatsonstage.com ‘An endlessly inventive 90 minutes… A grin-inducing night out’ – Public Reviews ‘Ingenious comedy… this is a shaggy stag story rooted in three great characters’ 4 stars – Time Out

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This is the ebook edition of Peter Hall's best-selling guide to acting Shakespeare that has sold over 10,000 copies. This is a new edition for a new generation – compact and concise with the facts, the way modern students and actors need it. The pay off the book according to Sir Peter is simple – it will make you a better actor!Shakespeare tells the actor when to go fast and when to go slow; when to pause, when to come in on cue and when to accent a word. His text is full of such clues. Shakespeare heard the lines as he wrote them. Shakespeare’s Advice to the Players makes watching or reading Shakespeare a richer experience, for audiences as well as actors.

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This pair of plays are from Scottish theatre company Random Accomplice, by Random Accomplice writer, Johnny McKnight & follow on from the success of their Smalltown tour.Marymassacre ‘refreshing & original production …dark, funny & at times, very hard hitting…’ – The Irvine HeraldIt’s where the fun of the fair meets a secret affair. On Irvine Moor, two women wait at the candy floss machine, both of them unaware how they’ll change each others' lives forever. These two women share a secret – a secret that will cause deadly damage on Marymass Saturday.Seven Year Itch ‘…a tremendously vivid show, in which layers of narrative jostle together with such complexity and playfulness that it fairly takes the breath away… an unobtrusively excellent script that turns on a sixpence between looming tragedy and brilliant comic one-liners…’ – The ScotsmanHas the rut set in on what was once wonderfully described as watered down David Lynch? After all, who knew that working together was going to be so bloody hard. Join our hapless duo, stuck in their monotonous part time jobs wondering what could have been as they ‘grin and bear the dashed hopes of every wannabe who never hit the big time.’ Seven Year Itch is for anyone who thinks about shredding their co-workers' fingers, for the daydreamer looking at the stapler with murderous intentions and for the performers who keep forgetting their lines on stage.

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