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Death and the Elephant
My life had been going nowhere. Until I was diagnosed with cancer. 12 June 1995. On his twenty-eighth birthday, Raz Shaw was a directionless gambling addict doing a telesales job that was eating up every trace of what soul he had left. The next day he would be diagnosed with stage 4 sclerosing mediastinal non-Hodgkin’s lymphoma of the large cell type. As he tells it, cancer saved his life. He was given the all-clear in March 1996, and stopped gambling for good that April. After a year away recuperating, he turned his back on the highly paid job that had devoured him and re-assimilated himself into the world of theatre that had once made him feel so alive. It took him a long time to realise...
The Greatest Play in the History of the World
What is it that you would want to be preserved for eternity? A man wakes in the middle of the night to discover that the world has stopped. Through the crack in his bedroom curtains he can see no signs of life at all...other than a light in the house opposite where a woman in an oversized Bowie T-shirt stands, looking back at him. The Greatest Play in the History of the World is a beautifully constructed love story, set on Preston Road and also in space and in time. Presented as a monologue for one actor, it asks profound questions with deepest sincerity whilst simultaneously balancing the human quest for meaningful connections. This edition was published to coincide with the play's run at the Traverse Theatre, Edinburgh in summer 2018 starring Julie Hesmondhalgh.
The Art of the Artistic Director
How do you decide what stories an audience should hear? How do you make your theatre stand out in a crowded and intensely competitive marketplace? How do you make your building a home for artistic risk and innovation, while ensuring the books are balanced? It is the artistic director's job to answer all these questions, and many more. Yet, despite the central role that these people play in the modern theatre industry, very little has been written about what they do or how they do it. In The Art of the Artistic Director, Christopher Haydon (former artistic director of the Gate Theatre, 'London's most relentlessly ambitious theatre' – Time Out) compiles a fascinating set of interviews that g...
The Boy Who Stole Time
When 12-year-old Krish finds out his mum is dying, he is desperate to give her more time to live. This leads to a deal with a devil-like creature to travel to another realm, Ilir, and collect the Myrthali - the essence of time itself. Ilir is a tiny desert world where the days are a handful of hours long and there is magic and treachery on every corner. Here Krish is set three impossible challenges by the brutal King Obsendei to win from him the Myrthali. He joins forces with the razor-tongued, young girl-wizard Balthrir, who hopes to free her parents from the Black Palace; a living, breathing structure built entirely out of those subjects who have incurred the wrath of the King. But as Krish battles these impossible tasks he may be about to learn that there is more than his mother's life at stake as he gets embroiled in a blood-thirsty fight for power in Ilir that will push his friendship with Balthrir to its limits.
Shakespeare Beyond English
What does it mean to perform Shakespeare in languages other than English and how do audiences respond?
We Should Definitely Have More Dancing
The amazing adventures of a woman with a fist in her head. Clara Darcy is fit! She's also (almost) care-free, (kind of) happily single and joyously dancing through life but, little does she know, her world is about to be turned upside down thanks to the arrival of a fist - slap-bang in the middle of her head. Based on her astonishing real-life story, There Should Definitely Be More Dancing explores the things that define us, that fill us up and make us who we are – a cautionary postcard from the edge of life stuffed full of heart and love and dancing. First produced by Oldham Coliseum Theatre, this edition was published to coincide with the world premiere production at Oldham Coliseum Theatre, followed by a national tour and run at the Assembly Rooms as part of Edinburgh Festival Fringe.
The Play That Goes Wrong
Good evening. I'm Inspector Carter. Take my case. This must be Charles Haversham! I'm sorry, this must've given you all a damn shock. After benefitting from a large and sudden inheritance, the inept and accident-prone Cornley Polytechnic Drama Society embark on producing an ambitious 1920s murder mystery. They are delighted that neither casting issues nor technical hitches currently stand in their way. However, hilarious disaster ensues and the cast start to crack under the pressure, but can they get the production back on track before the final curtain falls? The Play That Goes Wrong is a farcical murder mystery, a play within a play, conceived and performed by award-winning company Theatre Mischief. It was first published as a one-act play and is published in this new edition as a two-act play.
New Playwriting at Shakespeare’s Globe
Shakespeare's Globe Theatre is recognised worldwide as both a monument to and significant producer of the dramatic art of Shakespeare and his contemporaries. But it has established a reputation too for commissioning innovative and distinctive new plays that respond to the unique characteristics and identity of the theatre. This is the first book to focus on the new drama commissioned and produced at the Globe, to analyse how the specific qualities of the venue have shaped those works and to assess the influences of both past and present in the work staged. The author argues that far from being simply a monument to the past, the reconstructed theatre fosters creativity in the present, creativ...
Twenty-First Century American Playwrights
Introduces nine exciting and talented playwrights who have emerged in twenty-first century America, exploring issues of race, gender and society.
Value-Based Software Engineering
The IT community has always struggled with questions concerning the value of an organization’s investment in software and hardware. It is the goal of value-based software engineering (VBSE) to develop models and measures of value which are of use for managers, developers and users as they make tradeoff decisions between, for example, quality and cost or functionality and schedule – such decisions must be economically feasible and comprehensible to the stakeholders with differing value perspectives. VBSE has its roots in work on software engineering economics, pioneered by Barry Boehm in the early 1980s. However, the emergence of a wider scope that defines VBSE is more recent. VBSE extend...
