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See below for a selection of the latest books from Plays, playscripts category. Presented with a red border are the Plays, playscripts books that have been lovingly read and reviewed by the experts at Lovereading. With expert reading recommendations made by people with a passion for books and some unique features Lovereading will help you find great Plays, playscripts books and those from many more genres to read that will keep you inspired and entertained. And it's all free!
'Iago only suspected it. I know.' 1944. America. Celebrated actor, singer and political campaigner Paul Robeson - forever associated with 'Ol' Man River' - is touring the country as the eponymous hero in Shakespeare's Othello. His Desdemona is the brilliant young actress Uta Hagen. Her husband, the Broadway star Jose Ferrer, plays Iago. All the actors are friends. But in mid-century American society, they are not all equals. As the tour goes on, the boundaries between the onstage passions and their offstage lives begin to blur. Soon the chemistry between Robeson and Hagen and the rivalry between Robeson and Ferrer is every bit as dangerous as that between their famous characters. Revenge takes many forms and in post-war America it isn't always purely personal - it can be disturbingly political too. Nicholas Wright's new play is based on true events involving some of the twentieth century's most influential American artists.
For many people in early modern England the Reformation turned the past into another country: the 'merry world'. Nostalgia for this imaginary time, both widespread and widely contested, was commodified by a burgeoning entertainment industry. This book offers a new perspective on the making of 'Merry England', arguing that it was driven both by the desires of audiences and the marketing strategies of writers, publishers and playing companies. Nostalgia in Print and Performance juxtaposes plays with ballads and pamphlets, just as they were experienced by their first consumers. It argues that these commercial fictions played a central role in promoting and shaping nostalgia. At the same time, the fantasy of the merry world offered a powerfully affective language for conceptualising longing. For playwrights like Shakespeare and others writing for the commercial stage, it became a way to think through the dynamics of audience desire and the aesthetics of repetition.
Contributing to Arcturus's wide-ranging classics series, The Cherry Orchard is Anton Chekhov's masterful play about the serf Lopakhin and his love for the privileged Madam Ranyevskaya. First shown on Chekhov's final birthday in 1904, this comedic work of theatre examines the gradual fall of the aristocracy. The tale combines unique storytelling with innovative approaches to drama to create one of Russia's most unforgettable works.
The titular Roaring Girl of Thomas Middleton and Thomas Dekker's comedy is Moll Cutpurse, a fictionalized version of a real person, Mary Frith, who attained legendary status in London by flouting gendered dress conventions, illegally performing onstage, and engaging in all sorts of transgressive behavior from smoking and swearing to stealing. In the course of The Roaring Girl's lively and complex plot of seduction and clever ruses, Moll shares her views on gender and sexuality, defends her own honor in a duel, and demonstrates her knowledge of London's criminal underworld. This edition of the play offers an informative introduction, thorough annotation, and a substantial selection of contextual materials related to the real Mary Frith, gender and cross-dressing, criminality in London, and more. KEY FEATURES Comprehensive introduction Informative notes and glosses Background contextual materials Competitive price
The role of Elizabeth I on stage and screen has been deciphered, unravelled and decoded in a variety of forms: villainess, martyr, heroine and sometimes even comic turn. One fact, though, is clear: Elizabeth is reinterpreted in every age, and is therefore always updating, sometimes becoming the fashion, on occasion going out of fashion, but ultimately never losing our interest. In the time span covered in this book, 1912 to the present day, it is apparent that casting an actress as Elizabeth more often depends more upon her bankability at the box office, and the public's perception of her character, than her physical resemblance or even suitability to the role. Yet these casting choices have given us some of our most memorable Queens, such as Bette Davis and Cate Blanchett. These choices have led to some absorbing results and some unexpected problems. It is worth pondering that as Elizabeth has become more accessible - and supposedly understood - she has also become more romantic, sexual, humane, vulnerable and even ordinary. But by making her more real in our modern eyes, acceptable to our modern notion and understanding of behaviour, have we actually grown further from the real woman?
Oli arrives at the door of Marianne, a now-forgotten sci-fi TV icon, impatient to make an impression, to make a friend. Marianne, a jobbing actress, knows about waiting - for the phone to ring, for her best friend to see her differently, for her turn at something more substantial than a half-remembered role on a cult TV show. He wants an autograph; she doesn't want anything from him - or so she thinks. Yet as they start to explore each other's worlds, they begin to discover what every good relationship needs: time and space. Exploring the complexities of relationships, especially in the LGBTQ community, and the contrast in lived experiences across generations, Michael Dennis has crafted a story that is as much about joy and heartbreak as it is about quarries and transmat beams. A world premiere at London's Trafalgar Studios.
No talent at all when it comes to cooking - as you will discover - but when it comes to pissing off my children - immense talent - Olympian talent. Newbury, 1997. Sal is attempting to cook dinner for the family. She and husband David have pulled off a coup and gathered their brood back home for the weekend. Eldest son Carl is bringing his new girlfriend to meet everyone for the first time; middle daughter Polly is back from Cambridge University for the occasion; and youngest Tom will hopefully make it out of detention in time for dinner. Sal and David would rather feed their kids with leftist ideals and welfarism than fancy cuisine. When you've named each of your offspring after your socialist heroes, you've given them a lot to live up to...
We are a small community. The happiness of our children is everything. Our hopes and dreams rest in these tiny souls. In a small town in northern Denmark, the children celebrate Harvest Festival. In the forest by the water the men of the lodge stand naked in the cold. This is their country. This is their song. In the shadows, a lonely child gives a strange man her heart. The hunt begins. Based on Thomas Vinterberg and Tobias Lindholm's Danish film thriller Jagten, David Farr's The Hunt opened at the Almeida, London, in June 2019.
In this radical new version of Peer Gynt, David Hare kidnaps Henrik Ibsen's most famous hero and runs away with him into the twenty-first century. Stripped of fretwork and greenery, the play is projected into a freewheeling modern world of music, dance, poetry, weddings, coronations, trolls and two-headed children as Peter steals a bride and embarks on an extraordinary lifetime's journey before returning home, finally, to Scotland. David Hare's Peter Gynt posits the same fundamental question the great Norwegian asked in 1867: does a belief in individualism help or hinder us in trying to live purposefully in the present day? The play opens at the National Theatre in July 2019 and transfers to the Festival Theatre Edinburgh, for the Edinburgh International Festival.