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Dealer's Choice 'I feel it's my duty to proclaim it from the rooftops: this is it, this is the play that will remind you, at the end of a year that has contained too few stand-out new-writing hits and far too many musicals, why we go to the theatre - and just how good it can get.' Telegraph Closer 'Patrick Marber's searing follow-up to Dealer's Choice establishes him as the leading playwright of his generation.' Independent on Sunday 'One of the best plays of sexual politics in the language: it is right up there with Williams's Streetcar, Mamet's Oleanna, Albee's Virginia Woolf, Pinter's Old Times and Hare's Skylight.' Sunday Times Howard Katz 'After Dealer's Choice (1995), his gripping study of self-destructive gamblers, and Closer (1997), a thrilling account of love, sex and betrayal, this third instalment of his trilogy set in contemporary London tackles the biggest themes of all - life, death, God and the human soul. It's great to see a contemporary dramatist wrestling with such material.' Telegraph Don Juan in Soho 'One of the foremost dramatic chroniclers of modern British life. Line by line, this is the best written of all Marber's plays. You want to hang around its phrases (how often does that happen in the theatre?): hardly a minute passes without a satirical swipe, a gutsy joke.' Observer Red Lion 'Marber, in this riveting new piece, uses the world of non-league, semi-pro football to explore issues of trust and loyalty and the larger division between individual ambition and the collective ethic. If big issues emerge naturally from the action, it is because Marber is writing about a world he knows intimately. Everything feels right.' Guardian
After Miss Julie 'Patrick Marber's sharp reworking of Strindberg's classic has lost none of its edge. It's a hurtling, brutal play, a psychosexual nightmare of gender and class division, electrified by rage, fear, contempt and self-loathing.' The Times Trelawny of the 'Wells' 'Brilliantly but modestly updated and tweaked by Patrick Marber. All praise to him for this version.' Sunday Times The Beaux' Stratagem 'Marber's combination of overt and dry humour, and his refusal to stop being serious even during his comedy, pay off excellently here.' Financial Times Three Days in the Country 'Patrick Marber, who also directs, must take a bow. For it is an evening where the wit of the dialogue captivates. And, as in an elegant dance, the play keeps turning on its own heel, moving between comedy and anguish, reminding us of love as an impractical joke.' Observer Hedda Gabler 'It makes you shiver, this beautiful, brittle Ibsen ice sculpture.' The Times
'A beautiful play about the beautiful game.' Independent 'At its heart a dark, tender and beautifully wrought study in male desperation.' Time Out 'Patrick Marber is to modern British drama what Michael Owen was to our footie.' Daily Mail 'Marber, in this riveting new piece, uses the world of non-league, semi-pro football to explore issues of trust and loyalty and the larger division between individual ambition and the collective ethic. If big issues emerge naturally from the action, it is because Marber is writing about a world he knows intimately. Everything feels right.' Guardian 'A triumph. It's Marber's night. At 50, he has found his voice again, and it roars.' Daily Telegraph 'After nine years out of the game, Marber is back in the Champions League.' Mail on Sunday