LITMIR.BIZ

You are expected to behave… Use the right words. Act appropriately. Don’t break the rules. Just behave. This play is not well behaved. Alice Birch examines the language, behaviour and forces that shape women in the 21st century and asks what’s stopping us from doing something truly radical to change them.

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kin Anna, a Texan poetry scholar and Sean, an Irish personal trainer, hardly seem destined for one another. But as their web of family and friends crosses distances both psychological and geographical, an unlikely new family is forged. A sharp exploration of the changing face of kinship in the expansive landscape of the modern world. the mystery of love and sex Deep in the American South, Charlotte and Jonny have been best friends since they were nine. She's Jewish, he's Christian, he's black, she's white. An unexpected love story about where souls meet and the consequences of growing up. parents’ evening Mother and Father are in the bedroom, preparing for parents’ evening. This rare opportunity to check in triggers a volatile, passionate and surprising confrontation. A painfully witty, perceptive exploration of the landlines of parenting in modern marriage.

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“I’m having absolutely nothing more to do with the theatre or the human race. They can all go to hell” – Anton Chekhov

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Over the last twelve months headlines have been dominated by the growth of Islamic State, and terror attacks claimed by IS have spread across the world. What is the entity that calls itself Islamic State? Why are some young Muslim men and women from across Western Europe leaving their homes to answer the call of Jihad? And what should we do about it? This piece of verbatim documentary theatre, written by novelist Gillian Slovo using material from the interviews she conducted and directed by Nicolas Kent, is the result of many months researching Islamic State, meeting people affected by the organisation and involved in the fight against it.

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“You know I saw an article in Time Magazine a few years ago that stated ‘Asian Men are In,’ and it had a picture of a white woman riding the back of an Asian man. No Kidding. Like he was some kind of human rickshaw. Maybe you should take a picture of Sheryl riding me with a blunt in her mouth an’ a dreadlock wig.” Jamaican-American Richard and White-American Sheryl are starting a family together. When they agree to a series of ‘bedroom interviews’, they believe that their interracial relationship is the focus of the article. As both play up to what they believe are the expectations of the interviewer, they embark on a journey that challenges their relationship to the core as the barriers between psychological and social, sexual and political, public and private, melt and dissolve… Don’t Smoke In Bed is a stunning exploration of social and racial perception in contemporary America.

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'Ten Storey Love Song follows Bobby the Artist’s rise to stardom and horrific drug psychosis, Johnnie’s attempts to stop thieving and start pleasing Ellen in bed, and Alan Blunt, a forty-year-old truck driver who spends a worrying amount of time patrolling the grounds of the local primary school. A love song to a loveless Teesside, Ten Storey Love Song is a ferocious slab of concrete prose, peppered with beauty and delivered with glorious abandon.

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Imagine being told to leave your home… Imagine American soldiers occupying your house and land… Imagine being twelve and angry, with only a cat to tell your secrets to… Well it all happened (most of it anyway) in Slapton Sands, Devon, in 1944. Based on Michael Morpurgo’s novel The Amazing Story of Adolphus Tips , [i]946 explodes everything we thought we knew about the D-Day landings, using music, puppetry and foolishness to tell this tale of war, prejudice and love. Tender, political and surprisingly romantic, this story speaks to us all and finally reveals the secrets the US and British governments tried to keep quiet.

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The first collected works of Hannah Nicklin: a writer, game designer and performance maker experimenting with social engaged practices and storytelling in contemporary performance. This collection brings together three pieces made in collaboration with a series of other artists, musicians and people in the street, from 2012 to 2015. There is an introduction and commentary on each performance text, plus additional materials provided by collaborators, expanding and reflecting on the work, and how each piece was made.

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Craig Higginson’s first three plays for adult audiences – collected here in one volume for the first time – represent one of the strongest debuts in the history of South African theatre. Although each can be seen as a variation on the theme of the post-apartheid state of the nation play, they are also engaged with realities in Zimbabwe, the Congo and contemporary Europe. Higginson’s experience of growing up in wartorn Zimbabwe and apartheid South Africa have given him a deep-rooted and potent angle from which to dramatize a dialogue between Europe and Africa, the so-called First World and the Third. As British director Jeremy Herrin has noted in his Foreword: ‘The pairing of delicate psychology and considered plot allow the plays to move beyond the realism of their settings into a bespoke theatrical landscape, a place where the contradictions and messiness of contemporary life hold themselves up for inspection.’

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‘It’s a very sore subject around here. There are raw wounds.’ 2015 saw thirty years since the ‘Battle of the Beanfield’ – a brutal crackdown on the annual Stonehenge Free Festival. Called away from policing the miners’ strike, officers enforced an injunction around the ancient stones with bloody violence and mass arrests. Determined to mark the anniversary, performance makers Breach set out to stage a historical re-enactment – armed with homemade riot gear, a map of Wiltshire and a video camera. In this acclaimed multimedia show, the footage is intercut with a live performance attempting to capture the 2015 summer solstice at Stonehenge: there are hot dog stands, Hare Krishnas and MDMA, as a group of young people try to connect – but it all feels a bit fake. Breach’s award-winning mashup of new writing and documentary film has been called ‘a new kind of fusion theatre’ (Matt Trueman).

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