LITMIR.BIZ

If you could only go back and change things. That’s all he wanted, to go back and change things.The Large Hadron Collider – expected to address some of the most fundamental questions of physics, advancing the understanding of the deepest laws of nature and our existence, but sparking fears that the particle collisions might produce a black hole – the end of life as we know it. David is a good teacher. Struggling to stay afloat in the modern day stressful world of secondary education and doing his best to keep his life on track, he immerses himself in his work. He has a passion for physics and he’s desperate for his students to share his enthusiasm. There’s just one boy, Kyle – the school loner, who takes an interest in science and shares David’s thirst for knowledge. But when Kyle is picked on by his troublemaking classmates, Reece and Chantay, all of David’s good work starts to unravel. Their disruptive behaviour is a catalyst for colliding personalities, resulting in an explosive reaction.A contemporary and dynamic new play about provocation, Gravity is a fictional story with roots in the real-life newspaper headlines of today’s society.

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With famine gripping Ireland, Sean and Annie have just one chance of survival – they must find their father. Leaving their dying mother behind, they travel across rough seas to America. With only the gold torch that Annie wears as a necklace to protect them, they embark on a long and dangerous journey. But will they ever be reunited with their family? Twist of Gold is an epic adventure, a classic novel by the masterful storyteller and author of War Horse , Michael Morpurgo.

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One night in January 2010 and an earthquake in Haiti leaves around a hundred thousand people dead and almost two million homeless. Meanwhile, somewhere in a leafy North London suburb, a group of six individuals convene over avocado and prawns, followed by a monkfish stew. They struggle with worries over their mortgages, their mobile phone tariffs, their Facebook friends, their careers, their love lives, their diets, their alcohol intake, their holiday plans and whether or not any of them will be able to make any lasting impression on history.‘Torben Betts is one of the most exciting theatre writing talents I have come across in many a year’ – Alan Ayckbourn ‘Betts has a profound and highly original theatrical voice’ – Daily Telegraph ‘Just about the most original and extraordinary writer of drama we have…a boldly visionary poet… a political Beckett… a flamingly original writer we ignore at our peril.' – Liz Lochhead,National Poet Of Scotland ‘What starts out as a mildly amusing comedy of social dysfunctionality turns into something altogether darker and less comfortable’ – The Stage ‘A fantastic new play… accurate and witty writing… This stunning and moving play presented the drama and tragedy of everyday middle class life in a simple but believable style… an absolute triumph’ 5 stars – The Public Reviews

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‘Wherever you go and whatever you do, always play a real cool hand.’Beneath a scorching Florida sun, Boss Godfrey watches the chain gang. Keeps his eye on Cool Hand Luke. War hero, trouble-maker, inspiration to his fellow inmates. And just the man Boss wants to crush… Cool Hand Luke is the hard-hitting story of a true original. He’ll play it real cool in the face of brutality. He’ll always get back up after a beating. He’ll eat fifty eggs in an hour, to win a bet. A man who won’t conform no matter what it costs.In a powerful new adaptation for the stage by Emma Reeves, based on Donn Pearce’s acclaimed novel, and directed by Andrew Loudon, Cool Hand Luke is the raw, uncompromising tale of sticking it to ‘The Man’.

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Troy is in ruins. Its men are dead. Its women are captives and the victorious Greeks are camped in the ashes preparing to sail home. Four quarrelling women drawn together by grief… Four exhausted soldiers who hate each other’s guts… A King who falls for a girl so mad she can see the audience… A teenage princess dreaming of the Underworld… And a lonely man of conscience trying to get it all down on paper… Award-winning poet and playwright Glyn Maxwell rips up two Greek tragedies and makes a modern play from the fragments. A witty and passionate retelling of Euripides’ Women of Troy and Hecuba , After Troy exposes the cruelties of war both then and now.'Glyn Maxwell’s drama does not so much conflate the two great tragedies of loss and revenge [ Women of Troy and Hecuba ] but rather alights, magpie-like, on what is shiny in each to create a brand new play – Lyn Gardner, Guardian

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"The Seduction of Almighty God" is set during the dissolution of the monasteries, a critical moment in the history of the English priesthood. The loss of faith and cynical corruption of the few priests left at the Abbey of Calcetto is unexpectedly challenged by the arrival of a young man with an unsullied and passionate belief in God. The boy Loftus gradually acquires a huge moral ascendancy through the intensity and purity of his faith, but he is then brutally punished by the priests. Powerful poetic language, provocative ideas and rich, dark humour build a thought-provoking allegory for one of the key issues of our times. Howard Barker invents a world of shocking and universal metaphor in a place that might be anywhere struggling with the rise of extreme belief and the dangerous distorted power it unleashes.

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Features the plays Debris, Osama the Hero, After the End and Love and Money. These four plays are linked by their characters' desperate need to believe that there is more to life than the often brutal worlds in which they find themselves. Kelly's remarkable debut Debris finds humour and pathos in a spectacularly dysfunctional family unit. The harrowing Osama the Hero shows a group of neighbours taking ill-defined revenge on an odd-ball teenager in a climate of fear. In After the End a woman discovers she has been rescued from Armageddon by a paranoid ex-colleague with a nuclear bunker in his garden. And in a fractured narrative Love and Money portrays a marriage driven to brutal destruction by financial pressures.

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To be or not to be?' may be The Question, but it is not the only one. Hamlet, Part II , for example, answers a question about Hamlet that has plagued scholars, readers and play-goers for over four hundred years: What happened next? Prince Lear tackles yet another conundrum: What happened just before the start of King Lear , setting in motion the improbable events of Act I, scene 1? And in Fatal Loins , the question answered by the play is directly posed in the prologue: 'If Juliet and Romeo survive / Will their eternal passion stay alive?'‘I am no stranger to Shakespearean parody… but reading Pontac I am (only slightly) mortified to find that he can write cod Shakespeare much better than Peter Cook, Jonathan Miller, Dudley Moore or myself’ – Alan Bennett, from the foreword‘Perfect if you want something intelligent and hilarious to stage, perhaps with students. Each play is an accomplished, laugh-aloud Shakespeare parody.” – Susan Elkin, The Stage ‘Highly amusing… These works may be short, clearly designed to fit into a slot in 30 minutes or so, but the quality of the writing and intelligence of the playwright shines through… It is greatly to be hoped that a stage producer decides to take an option on these plays, as well as commissioning many more since they would surely delight any discerning theatrical audience’ – British Theatre Guide ‘a phenomenally intelligent and perfectly crafted trio of Shakespeare trilogies.. A delightfully witty and entertaining collection’ – Buzz Magazine

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The world of musicals is beautiful, complex, hilarious, hard-headed, and improbable. It is as hard to make a great musical as it is to fly a spaceship to the moon and there are at least as many moving parts. Why is a great musical as significant a theatrical achievement as, say, King Lear?In this entertaining new title in Oberon Masters Series, Ruth Leon tells all about the composers, the lyricists, the directors and the pioneers of the stage musical on both sides of the Atlantic while trying to reveal the truth behind the eternal question – what are musicals and why do we love them?‘A whirlwind tour through musical theatre history… This book may be small but, like all the great shows about which Leon writes, it is perfectly formed’ – Jewish Chronicle ‘A slim and succinct account of the handful of 20th century musicals which, in Leon’s very well informed and experienced opinion, have changed the genre forever… I learned a great deal. Buy it.’ – The Stage ‘Light-hearted but informative… with an air of authority… is also beautifully bound: a slim, smart, slightly old-fashioned looking hardback.’ – What’s on stage.com ‘Ruth Leon has the ability to capture the essence of each musical, which is the real strength of pocket-sized hardback… a lovely little volume that will delight any devotee of this genre’ – British Theatre Guide ‘A must for any performing arts or drama student.’ – Ink Pellet

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....a little show about death and other taboos..... Since her big sister, BBC journalist Kate Peyton, was murdered in Somalia, Rebecca has had rather a strange time. She welcomes us to her world in a passionately political, sharply comical and painfully personal account of life after Kate.Crafting a moving and often comic tapestry of private moments from a public tragedy, Rebecca tells her own story of a courageous journalist and a loving big sister, whom she misses.‘A reminder of how almost absurdly precious life is’ **** – The Times ‘A well crafted, subtle piece of storytelling’ **** – The Scotsman ‘Recalls the best of humanity… It is impossible not to be moved’ **** -WhatsOnStage[/i] ‘at once universally resonant and undeniably personal….touching, brave and surprisingly funny…an extraordinary—yet delightfully ordinary—story of loss and struggle, but ultimately love.’ – British Theatre Guide ‘painfully honest, brutally humorous and certainly hopeful…. a unique and entertaining piece of theatre’ – Fourth Wall Magazine ‘a visceral true story of the grief, confusion and beauty….Compelling’ – The Independent ‘a piece that once delivered will linger in the audiences’ mind…subtle and unobtrusive…[an] emotional ride’ – A Younger Theatre ‘an artful expression of grief at its most painful’ 4 stars – The Telegraph

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