Search results for ""RSC""

Queen Victoria's Golden Jubilee, 1887. At East London's Tilbury Docks, Rani Das and Abdul Karim, step ashore after the long voyage from India. One has to battle a society who deems her a second-class citizen; the other forges an astonishing entanglement with the ageing Queen Victoria who finds herself enchanted by stories of an India over which she rules, but has never seen. Through narrative, music and song, The Empress blends the true story of Queen Victoria’s controversial relationship with her Indian servant and ‘Munshi’ (teacher), Abdul Karim, with the experiences of Indian ayahs who came to Britain during the 19th century. With private romance being mapped onto world history, the action cuts between the ship and different royal residences, offering bright contrasts as well as surprising affinities. In doing so, the play uncovers remarkable unknown stories of 19th-century Britain and charts the growth of Indian nationalism and the romantic proclivities of one of Britain's most surprising monarchs. The Empress, which premiered at Stratford-upon-Avon's RSC in 2013, is published here as a Methuen Drama Student Edition with commentary and notes by Professor Jane Garnett, Wadham College, University of Oxford, UK.

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When John Thaw, star of The Sweeney and Inspector Morse, died from cancer in 2002, a nation lost one of its finest actors and Sheila Hancock lost a beloved husband. In this unique double biography she chronicles their lives - personal and professional, together and apart. John Thaw was born in Manchester, the son of a lorry driver. When he arrived at RADA on a scholarship he felt an outsider. In fact his timing was perfect: it was the sixties and television was beginning to make its mark. With his roles in Z-Cars and The Sweeney, fame came quickly. But it was John's role as Morse that made him an icon. In 1974 he married Sheila Hancock, with whom he shared a working-class background and a RADA education. Sheila was already the star of the TV series The Rag Trade and went on to become the first woman artistic director at the RSC. Theirs was a sometimes turbulent, always passionate relationship, and in this remarkable book Sheila describes their love - weathering overwork and the pressures of celebrity, drink and cancer - with honesty and piercing intelligence, and evokes two lives lived to the utmost.

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From the Royal Shakespeare Company – a modern, definitive edition of Shakespeare’s magical late play. With an expert introduction by Sir Jonathan Bate, this unique edition presents a historical overview of Cymbeline in performance, takes a detailed look at specific productions, and recommends film versions. Included in this edition are interviews with two leading directors – Dominic Cooke and Emma Rice – providing an illuminating insight into the extraordinary variety of interpretations that are possible. This edition also includes an essay on Shakespeare’s career and Elizabethan theatre, and enables the reader to understand the play as it was originally intended – as living theatre to be enjoyed and performed. Ideal for students, theatre-goers, actors and general readers, the RSC Shakespeare editions offer a fresh, accessible and contemporary approach to reading and rediscovering Shakespeare’s works for the twenty-first century.

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This fully re-edited, modernised play text is accompanied by commentary notes and an introduction written by Paul Menzer, guiding you through the fume of fact and legend that have accompanied the play across the centuries. As well as the complete text of the play, this re-edited New Mermaids edition includes: · A detailed plot summary and annotations throughout the text · An annotated bibliography and suggestions for further reading · A comprehensive introduction exploring the historical and literary context, and performance history, including Orson Welles’s 1937 role as Doctor Faustus as well as recent productions at The Globe and the RSC One of the most spectacular and popular plays of the Elizabethan stage, Christopher Marlowe's Doctor Faustus, with its fantastical mix of high-minded theology and low-brow slapstick, has allured generations of readers and playgoers in the ensuing centuries.

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Nii Lamptey: The Curse of Pelé is the authorised biography of Ghanaian footballer Nii Lamptey, a one-time bright young talent who was hailed as 'the next Pelé' by Pelé himself. By age 16, Lamptey had won the Belgian title with RSC Anderlecht and the world championship with Ghana's under-16s. One year later, he won a bronze medal at the 1992 Barcelona Olympics. After joining Dutch masters PSV Eindhoven on loan in 1993 and scoring 10 times in 22 games that season, Lamptey appeared to have the world at his feet. Spells at Aston Villa and Coventry City followed, but he failed to fulfil Pelé's bold prophecy. Instead, his career became a cautionary tale of what can go wrong when too much pressure is applied to young players. Injuries, lack of schooling, domestic violence, bad agents and a tragic and turbulent personal life pushed Lamptey to the brink of suicide, but thankfully he recovered. In this 'warts and all' account he finally lifts the lid on his incredible story.

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'One way of describing Educating Rita would be to say that it was about the meaning of education ... Another would be to say that it was about the meaning of life. A third, that it is a cross between Pygmailion and Lucky Jim. A fourth, that it is simply a marvellous play, painfully funny and passionately serious; a hilarious social documentary; a fairy-tale with a quizzical, half-happy ending.' Sunday Times This new student edition includes an introduction covering the play's context; chronology; dramatic devices; critical reception; production history; and key themes such as class and identity, popular culture and education. Educating Rita portrays a working-class Liverpool woman's hunger for education. It premiered at the RSC Warehouse, London, in 1980 and won the SWET award for Best Comedy of the Year. It was subsequently made into a highly successful film with Michael Caine and Julie Walters and won the 1983 BAFTA award for Best Film. Commentary and notes by Katie Beswick, University of the Arts London.

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Renowned theatre and film director Nancy Meckler delves into her hugely varied experiences in the rehearsal room and shares examples of tried-and-tested “tools” to bring a play to life. Meckler encourages you to interrogate, play, experiment and to use her methods as a starting point to begin creating your own unique directing toolkit and finding your own style. The examples are drawn from her experience directing a range of work from classic plays, including work by Chekhov, Brecht and Shakespeare, to new writing, including work by Pam Gems and Sam Shepard, and in a wide range of renowned theatres, including the RSC, National Theatre, Royal Court and a number of the UK's regional theatres. The author's approachable and relatable writing style enables an in-depth look into how she works with actors and the many ways in which she may approach a new project while also providing with a unique insight into her own wealth of experience over a remarkable career as an award-winning and internationally celebrated director.

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The Arden Shakespeare, in association with the Shakespeare Birthplace Trust, presents a new series of volumes on Shakespeare's plays in performance.The series discusses and analyses the wide range of theatrical interpretation stimulated and provoked by the most frequently performed plays. Each volume explores how different directors, designers and actors have interpreted and adapted an individual play in terms of narrative focus, themes and characters, scenery and costume. The focus is on productions at Stratford-upon-Avon since 1945, on the basis that the record of Shakespeare performances at Stratford's theatres offers a wider, fuller and more various range of interpretation than is offered by any other theatre company. The volumes also set this record in a wider geographical and chronological context by means of a historical overview of earlier productions and of productions beyond Stratford.Published in conjunction with the Shakespeare Birthplace Trust, each volume features a wealth of photographs (many of them not previously seen in print) drawn from the archive of RSC performance materials held in the Trust's library at the Shakespeare Centre in Stratford.Shakespeare at Stratford will surprise, inform and delight both students and scholars of Shakespeare and performance history and the general reader with an interest in theatre.

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A hilarious city comedy by the authors of A Mad World, My Masters and The Shoemaker's Holiday. Sebastian has a problem. He's in love with a girl but his father won't agree to their marriage. In desperation he turns to the one person who can help him, the fearless and feisty 'roaring girl' Moll Cutpurse. In a London fuelled by greed and desire, the charismatic, cross-dressing heroine Moll has the world wrapped around her little finger, and she has a plan. Cutting a joyously independent path through the underhand scheming and petty vendettas of the London underworld, Moll proves more than a match for any man. This Prompt Book edition of The Roaring Girl was published alongside the Royal Shakespeare Company's revival of the play in 2014, and features the text edited for the RSC production, and introductions by key members of its creative team.

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From the Royal Shakespeare Company – a modern, definitive edition of Shakespeare’s magnificent tragedy of love, jealousy and explosive racial politics. With an expert introduction by Sir Jonathan Bate, this unique edition presents a historical overview of Othello in performance, takes a detailed look at specific productions, and recommends film versions. Included in this edition are interviews with two leading directors and an actor – Trevor Nunn, Michael Attenborough and Antony Sher – providing an illuminating insight into the extraordinary variety of interpretations that are possible. This edition also includes an essay on Shakespeare’s career and Elizabethan theatre, and enables the reader to understand the play as it was originally intended – as living theatre to be enjoyed and performed. Ideal for students, theatre-goers, actors and general readers, the RSC Shakespeare editions offer a fresh, accessible and contemporary approach to reading and rediscovering Shakespeare’s works for the twenty-first century.

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The Spanish Golden Age was a period of flourishing in arts and literature, and in particular of drama, in Spain, coinciding with the political decline and fall of the Habsburgs. This term does not generally imply any great precision about dates, but it begins no earlier than 1492, ending with the death of he last great writer of the period, Pedro Calderon de la Barca, died in 1681.In 2003, the RSC produced a season of Spanish Golden Age plays, including classics such as "The Dog in the Manger", "House of Desires and Pedro", and "The Great Pretender" establishing an innovative working process that laid emphasis on the plays as pieces of theatre, dynamic and alive, and on the principle of respect for the plays' historical contexts. The essays in this book, written by some of the world's foremost scholars of the Spanish Golden Age, explore some of the many issues that arose from this season and the complex nature of translating and staging plays from the Spanish Golden Age on the English-speaking stage.

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Romeo and Juliet always use ‘thou’ to each other, but they are the only pair of lovers in Shakespeare to do this. Why? All the women in Richard III address Richard as ‘thou’, but no man ever does. Why? When characters address the dead, they use ‘thou’ – except for Hamlet, who addresses Yorick as ‘you’. Why? Shakespeare’s contemporaries would have known the answers to these questions because they understood what ‘thou’ signified, but modern actors and audiences are in the dark. Through performance-oriented analysis of extracts from the plays, this book explores the language of ‘trulls’ and termagants, true loves and unwelcome wooers, male impersonators, smothering mothers, warring spouses and fighting men, as well as investigating lèse-majesté, Freudian slips, crisis moments and rhetorical flourishes. Drawing on work with RSC actors, as well as the author’s experience of playing a range of Shakespearean roles, the book equips the reader with a new tool for tracking emotions, weighing power relations and appreciating dazzling complexity.

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Ella Hickson's version of J.M. Barrie's much-loved story puts the character of Wendy firmly centre stage, in an adaptation that is refreshingly modern but never loses the charm of the original. Winter 1908. Snow is falling across London. Wendy Darling and her brothers sleep peacefully in their bedroom, as their parents bicker downstairs. In a sudden flurry of snow their window blows open, and into their lives tumbles a mischievous boy called Peter, followed by a fractious fairy called Tink. With the aid of a little fairy dust, Wendy agrees to fly with Peter to Neverland, seeing not only the promise of an awfully big adventure, but also the chance to rediscover the key to her parents' lost happiness. Once there, she will give the Lost Boys a run for their money, defeat Captain Hook and his pirate crew, and ultimately, learn what it means to grow up. Commissioned by the Royal Shakespeare Company, Ella Hickson's Wendy & Peter Pan premiered at the Royal Shakespeare Theatre, Stratford-upon-Avon, in December 2013, and was revived by the RSC in 2015. It was staged at the Tokyo Olympics in 2021, in an international co-production between Bunkamura in Tokyo and Leeds Playhouse in the UK. The play will suit any theatre company or youth group looking to stage a classic tale, full of magic, adventure and strong female roles.

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This ground breaking collection of essays is the first to examine the phenomenon of how, in the twenty-first century, Shakespeare has been experienced as a ‘live’ or ‘as-live’ theatre broadcast by audiences around the world. Shakespeare and the 'Live' Theatre Broadcast Experience explores the precursors of this phenomenon and its role in Shakespeare’s continuing globalization. It considers some of the most important companies that have produced such broadcasts since 2009, including NT Live, Globe on Screen, RSC Live from Stratford-upon-Avon, Stratford Festival HD, Kenneth Branagh Theatre Company Live, and Cheek by Jowl, and examines the impact these broadcasts have had on branding, ideology, style and access to Shakespeare for international audiences. Contributors from around the world reflect on how broadcasts impact on actors’ performances, changing viewing practices, local and international Shakespearean fan cultures and the use of social media by audience members for whom “liveness” is increasingly tied up in the experience economy. The book tackles vexing questions regarding the ‘presentness’ and ‘liveness’ of performance in the 21st century, the reception of Shakespeare in a globally-connected environment, the challenges of sustaining an audience for stage Shakespeare, and the ideological implications of consuming theatre on screen. It will be crucial reading for scholars of the ‘live’ theatre broadcast, and enormously helpful for scholars of Shakespeare on screen and in performance more broadly.

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Matilda is a brilliant and sensitive child, but her parents think of her only as a nuisance. Even before she is five years old, she has read Dickens and Hemingway and still her parents think of her as a pest. So she decides to get back at them. Her platinum-haired mother and car salesman father are no match for her sharp genius, and neither is the cruel headmistress Miss Trunchbull. And then the child prodigy discovers she has an extraordinary psychic power that can save her school and especially the lovely kindergarten teacher, Miss Honey.With a musical tie-in cover. The RSC have produced a dark and delightful adaptation of Roald Dahl's tale of a child genius, and her monstrous headmistressRoald Dahl, the best-loved of children's writers, was born in Wales of Norwegian parents. His books continue to be bestsellers, despite his death in 1990, and worldwide sales are over 100 million! Quentin Blake is one of the best-known and best-loved children's illustrators and it's impossible now to think of Roald Dahl's writings without imagining Quentin Blake's illustrations.

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Queen Victoria's Golden Jubilee, 1887. At East London's Tilbury Docks, Rani Das and Abdul Karim step ashore after the long voyage from India. One has to battle a society who deems her a second-class citizen; the other forges an astonishing entanglement with the ageing Queen Victoria who finds herself enchanted by stories of an India over which she rules, but has never seen. Through narrative, music and song, The Empress blends the true story of Queen Victoria’s controversial relationship with her Indian servant and ‘Munshi’ (teacher), Abdul Karim, with the experiences of Indian ayahs who came to Britain during the 19th century. With private romance being mapped onto world history, the action cuts between the ship and different royal residences, offering bright contrasts as well as surprising affinities. In doing so, the play uncovers remarkable unknown stories of 19th-century Britain and charts the growth of Indian nationalism and the romantic proclivities of one of Britain's most surprising monarchs. This revised edition was published to coincide with the revival at the RSC in summer 2023.

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Since the late 1990s, Rupert Goold has garnered a reputation as one of the UK’s most exciting and provocative theatre directors. His exhilarating, risk-taking productions of both classic texts and new plays have travelled from regional stages to the National Theatre, the West End, Broadway and beyond. Through his artistic directorship of Northampton’s Royal & Derngate, the touring theatre company Headlong and London's Almeida Theatre, he has radically transformed, not only the companies themselves, but the landscape of British theatre. This is the first book to survey and analyse the full range of Goold's work to date and is a vital resource for students, scholars and fans of his work. Based on extensive interviews with Goold and some of the playwrights, designers, actors and other creatives who have collaborated with him, The Theatre of Rupert Goold provides an account of Goold’s work from the beginnings of his career to the present day, offering a backstage view of the creative processes behind some of his most successful productions including: Paradise Lost, Faustus (Royal & Derngate); Macbeth (Chichester Festival Theatre); The Tempest, Romeo and Juliet (RSC); Six Characters in Search of an Author, ENRON (Headlong); Time and the Conways (National Theatre); Charles III and Ink (Almeida). The Theatre of Rupert Goold is an accessible and fascinating guide to Goold’s approach to making theatre, an approach that asks provocative questions of the modern world in the most theatrical ways imaginable.

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'She’s like no one I’ve ever met... She’s like fire and water all at once.' Warwickshire, 1582. Agnes Hathaway, a natural healer, meets the Latin tutor, William Shakespeare. Drawn together by powerful but hidden impulses, they create a life together and make a family. As William moves to London to discover his place in the world of theatre, Agnes stays at home to raise their three children but she is the constant presence and purpose of his life. When the plague steals 11-year-old Hamnet from his loving parents, they must each confront their loss alone. And yet, out of the greatest suffering, something of extraordinary wonder is born. This new play based on Maggie O'Farrell's best-selling novel and adapted by award-winning playwright Lolita Chakrabarti (Life of Pi, Red Velvet, Hymn), pulls back a curtain on the imagined family life of the greatest writer in the English language. Hamnet is a love letter to passion, birth, grief and the magic of nature. This updated and revised edition was published to coincide with the West End transfer of the original RSC production in October 2023.

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Jonathan Bate's Soul of the Age brings us closer than ever to understanding what being Shakespeare was actually like.How did plague turn Shakespeare from a jobbing hack into a courtly poet? How did Bottom's dream rewrite the Bible? How did Shakespeare's plays lead to the deaths of an earl and a king? And why was he the one dramatist of his generation never to be imprisoned?Weaving a dazzling tapestry of Elizabethan beliefs and obsessions, private passions and political intrigues, Soul of the Age leads us on an exhilarating tour of the extraordinary, colourful and often violent world that shaped and informed Shakespeare's thinking. Written by one of the world's leading experts, it combines almost everything there is to know about the man and his work in one sensational narrative.'Bate probably knows as much as any single person can know about Shakespeare ... Surprising, fresh, exhilarating, brilliant', Guardian'Intensely enjoyable ... you find yourself gasping with pleasure' John Carey, Sunday TimesJonathan Bate is Professor of Shakespeare and Renaissance Literature at the University of Warwick, chief editor of The RSC Shakespeare: Complete Works and the author of many books, including most recently John Clare: A Biography, which won the Hawthornden Prize for Literature and the James Tait Black Prize for Biography. A Fellow of the British Academy, he was awarded a CBE in 2006.

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A beautifully designed celebration of the 40th birthday of the Barbican Arts Centre, in the heart of the City of London. It is the largest multi-arts centre in Europe, encompassing an art gallery, theatres, concert halls, cinemas and a much-loved conservatory, and regular collaborators include the London Symphony Orchestra and the Royal Shakespeare Company. Compiled by Nicholas Kenyon, the Barbican Centre's Managing Director 2007–2021, this is an in-depth exploration of the centre, drawing on the vast array of material available in its archives, much of which has never been seen before. It includes plans and photographs from the centre’s design and construction, original signage and branding, and brochures and programmes. All this is accompanied by a wealth of photographs of the huge range of performances and exhibitions that have taken place over the years, from early RSC performances to the popular Rain Room installation of 2012 to today’s impressive programme of events put together in conjunction with schools and the local community. The book's authoritative and evocative text includes: ·Foreword by Fiona Shaw ·Introduction by Sir Nicholas Kenyon ·Cultural historian Robert Hewison on how the centre came into being ·Architectural historian Elain Harwood on its architecture ·Music critic Fiona Maddocks on music ·Writer and theatre critic Lyn Gardner on theatre ·Editor and creative director Tony Chambers on visual art ·Author and film critic Sukhdev Sandhu on film With listings of Barbican events from 1982 to the present day, and snippets of oral history from some of the many people associated with the centre over the years, this sumptuous book is an invaluable companion to one of the world's most important cultural spaces.

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A selection of the best work of Stephen Jeffreys, whose career stretches from an award-winning play at the National Student Drama Festival in 1977 through to an adaptation of The Alchemist for the RSC in 2016. Included here are his first big success, Valued Friends, a comedy of manners about the property market which won both the Evening Standard and Critics' Circle Awards; a riotous farce set in the time of Elizabeth I, The Clink, in which a stand-up comedian becomes involved in the political skulduggery surrounding the ailing queen; an autobiographical drama set in 1966, A Going Concern, about a washed-up family business; and Jeffreys' smash-hit, The Libertine, a Restoration romp about the licentious Earl of Rochester, much revived and also filmed with Johnny Depp. Rounding off the volume are two previously unpublished plays: Interruptions, inspired by Jeffreys' interest in the collective aspect of politics and his fascination with the Japanese aesthetic principle of Jo-ha-kyu; and a very likable, short autobiographical monologue, Finsbury Park. Together, all six plays represent the impressively wide range of topics and styles that Jeffreys can embrace. Above all, each one of them is intensely and enjoyably theatrical to its very core.

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David Weinberg argues that American experimental theatre practice was one key factor in the development of an important phase in the history of the alternative theatre movement in Britain during the period 19561980. His analysis draws on key concepts and theories in the work of Elizabeth Burns (1972) and Baz Kershaw (1992, 1999). The main historical developments he covers are the activities of the experimental theatre groups associated with Jim Haynes, Charles Marowitz, Nancy Meckler, and Ed Berman, four expatriate American theatre practitioners living in Britain during the time period 19561980. In addition, he also examines important American-based groups -- Living Theatre (1947), Open Theatre (1964), La MaMa (1960), and Bread and Puppet (1965) which performed in Britain and which made an impact during the same period, as well as a wide range of indigenous British groups -- Pip Simmons (1968), Foco Novo (19721989), Joint Stock (19741989), institutions -- RSC (1961), Royal Court (1956) and individuals such as Max Stafford-Clark, Thelma Holt, John Arden, Ann Jellicoe, and the Portable playwrights (19681972) which in one way or another were influenced by American exemplars. Weinbergs study is essential reading for everyone seeking a more comprehensive and dynamic understanding of the forces which shaped the alternative theatre movement in Britain.

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'This book gives some of the very best of Shakespeare’s twenty-first-century colleagues an opportunity to share insights that can only come from playing him' Nicholas Hytner, from his Foreword Twelve leading actors take us behind the scenes of landmark Shakespearean productions, each recreating in detail their memorable performance in a major role. Roger Allam on his Falstaff in both Henry IV plays at Shakespeare’s Globe Eileen Atkins on Viola in two productions of Twelfth Night seventeen years apart Simon Russell Beale on Cassius in Deborah Warner’s modern-dress Julius Caesar Chiwetel Ejiofor on his Donmar Warehouse Othello, directed by Michael Grandage Sara Kestelman on Hippolyta and Titania in Peter Brook’s iconic white-box Dream Ian McKellen on one of Shakespeare’s most demanding of roles: King Lear Michael Pennington on stepping in at the eleventh hour as Timon of Athens Alan Rickman on re-evaluating the melancholic Jaques in As You Like It Fiona Shaw on Shakespeare’s Shrew, Katherine, in Jonathan Miller’s production Patrick Stewart on his Las Vegas-set Shylock, a role he has played many times Harriet Walter on Imogen in Shakespeare’s late romance, Cymbeline, at the RSC Zoë Wanamaker on her National Theatre Beatrice, directed by Nicholas Hytner Each actor leads us through the choices they made in rehearsal, and how the character works in performance, shedding new light on some of the most challenging roles in the canon. The result is a series of individual masterclasses that will be invaluable for other actors and directors, as well as students of Shakespeare – and fascinating for audiences of the plays. Shakespeare On Stage: Volume 2 was shortlisted for the 2018 Theatre Book Prize. ‘Absorbing and original… Curry’s actors are often thinking and talking as that other professional performer, Shakespeare himself, might have done.’ TLS on Shakespeare On Stage: Vol. 1

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Ion channel drug discovery is a rapidly evolving field fuelled by recent, but significant, advances in our understanding of ion channel function combined with enabling technologies such as automated electrophysiology. The resurgent interest in this target class by both pharmaceutical and academic scientists was clearly highlighted by the over-subscribed RSC/BPS 'Ion Channels as Therapeutic Targets' symposium in February 2009. This book builds on the platform created by that meeting, covering themes including advances in screening technology, ion channel structure and modelling and up-to-date case histories of the discovery of modulators of a range of channels, both voltage-gated and non-voltage-gated channels. The editors have built an extensive network of contacts in the field through their first-hand scientific experience, collaborations and conference participation and the organisation of the meeting at Novartis, Horsham, increased the network enabling the editors to draw on the experience of eminent researchers in the field. Interest and investment in ion channel modulation in both industrial and academic settings continues to grow as new therapeutic opportunities are identified and realised for ion channel modulation. This book provides a reference text by covering a combination of recent advances in the field, from technological and medicinal chemistry perspectives, as well as providing an introduction to the new 'ion channel drug discoverer'. The book has contributions from highly respected academic researchers, industrial researchers at the cutting edge of drug discovery and experts in enabling technology. This combination provides a complete picture of the field of interest to a wide range of readers.

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This is the first ever collection of plays by Palestinian-Irish playwright Hannah Khalil; the first woman of Arab heritage to have a main-stage play at the RSC. It encompasses a decade’s worth of plays exploring her Arab heritage, drawing on family histories as well as significant events in the Arab World. They were all written during a period that included the end of the war in Iraq, the intensification of the occupation of Palestine and the birth and disillusion of the so called Arab Spring. The plays included are set in both a historical and modern context. They include a feminist take on 1001 nights and the Scheherazade story; an exploration of Gertrude Bell, the Museum in Baghdad and Britain’s role in the birth of the Iraq; plus two plays looking at the Palestinian experience, one based on a family living through the creation of the State of Israel in 1948, the other an epic collage that moves in time from 1948 to present day. This anthology also includes a radio play set in Dubai and a monologue about the power and legacy of artefacts. It’s notable that these plays offer a plethora of non-stereotypical roles for actors of Arab heritage. Through the six plays included the reader can trace a variety of approaches to storytelling, a host of memorable characters and some unforgettable stories. Plays include: Plan D Scenes from 73* Years A Negotiation Museum in Baghdad Last of the Pearl Fishers Hakawatis

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Thirty years ago a promising young actor published his account of preparing for and playing the role of Richard III. Antony Sher's Year of the King has since become a classic of theatre literature. In 2014, Sher, now in his sixties, was cast as Falstaff in Gregory Doran's Royal Shakespeare Company production of the two parts of Henry IV. Both the production and Sher's Falstaff were acclaimed by critics and audiences alike, with Sher winning the Critics' Circle Award for Best Shakespearean Performance. Year of the Fat Knight is Antony Sher's account - splendidly supplemented by his own paintings and sketches - of researching, rehearsing and performing one of Shakespeare's best-known and most popular characters. He tells us how he had doubts about playing the part at all, how he sought to reconcile Falstaff's obesity, drunkenness, cowardice and charm, how he wrestled with the fat suit needed to bulk him up, and how he explored the complexities and contradictions of this comic yet often dangerous personality. On the way, Sher paints a uniquely close-up portrait of the RSC at work.Year of the Fat Knight is a terrific read, rich in humour and with a built-in tension as opening night draws relentlessly nearer. It also stands as a celebration of the craft of character acting. All in all, it is destined to rank with Year of the King as one of the most enduring accounts of the creation of a giant Shakespearean role. Praise for Year of the King: 'This is a most wonderfully authentic account of the experience of creating a performance' Sunday Times 'The most exciting actor of his generation and an eloquent writer on the side' Observer Praise for Sher's Falstaff: 'A magnificent, magnetic performance - Sher plays down the fatness to emphasise the knight's upper-class origins. But, just as you start to warm to this Falstaff, you are reminded of his rapacity' Guardian 'It is Sher's irrepressible Falstaff that will linger in the memory - a lord of misrule who's absurd, delightful and in the end deeply sad' Evening Standard

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A memoir of theatrical life and much more by Tim Pigott-Smith, one of the best known and most prodigiously talented actors of his generation. From his appearance as Ronald Merrick in the television adaptation of The Jewel in the Crown to his recent role in the hit play King Charles III, Tim Pigott-Smith has been recognised as one of Britain’s most loved contemporary actors. On stage his work encompassed the Bristol Old Vic, Royal Shakespeare Company, National Theatre, West End and Broadway. He acted with Jeremy Irons, Charles Dance, Anthony Hopkins, Michael Caine, Peggy Ashcroft and Judi Dench and collaborated with a host of famous directors, from his late friend Howard Davies, to John Huston and Peter Hall. In his memoir, Do You Know Who I Am?, Pigott-Smith describes the actor’s craft with witty anecdotes and fascinating insight. He recalls his childhood and early beginnings in the paint shop at the RSC Stratford, the life of a jobbing actor in 1960s and 70s London, strange meetings with glamorous Hollywood producers, filming a football match with Pelé in Hungary, the epic Indian saga of The Jewel in the Crown and more recent projects such as Mike Bartlett’s King Charles III, first performed at the Almeida Theatre and later transferred to Wyndham’s Theatre in the West End, Broadway and to film. What is the story of Judi Dench and the black glove? What was it like to visit Michael Caine’s LA mansion? How does one produce the character of the complex and unforgettable Corporal Merrick? Humorously written, warm, engaging and accompanied by black and white photographs, Do You Know Who I Am? is an entertaining memoir from one of our great acting talents. Tim Pigott-Smith died in April 2017, shortly before this book was published, having passed final proofs for press.

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Adapted from a series of four lectures, originally delivered as the first of the Granada Northern Lectures Peter Brook's The Empty Space is an exploration of four aspects of theatre, 'Deadly, Holy, Rough and Immediate', published in Penguin Modern Classics.'I can take any empty space and call it a bare stage'In The Empty Space, groundbreaking director Peter Brook draws on a life in love with the stage to explore the issues facing any theatrical performance. Here he describes important developments in theatre from the last century, as well as smaller scale events, from productions by Stanislavsky to the rise of Method Acting, from Brecht's revolutionary alienation technique to the free form Happenings of the 1960s, and from the different styles of such great Shakespearean actors as John Gielgud and Paul Scofield to a joyous impromptu performance in the burnt-out shell of the Hamburg Opera just after the war. Passionate, unconventional and fascinating, his book shows how theatre defies rules, builds and shatters illusions and creates lasting memories for its audiences.Peter Stephen Paul Brook CH CBE (b. 1925) is a highly influential British theatrical producer and director. During the 1950s he worked on many productions in Britain, Europe, and the USA, and in 1962 returned to Stratford-upon-Avon to join the newly established Royal Shakespeare Company. Throughout the next the 1960's he directed many ground breaking productions for the RSC before in 1970 forming The International Centre for Theatre Research in Paris. If you enjoyed The Empty Space, you might like John Berger's Ways of Seeing, also available in Penguin Modern Classics.'A brilliant book ... should be read by the many besides the passionate few to whom it will be required reading'Daily Telegraph

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In this lively study of both modern film and stage productions of Shakespeare, Samuel Crowl provides fascinating insights into the ways in which these productions have been influenced by one another as well as by contemporary developments in critical approaches to Shakespeare’s plays. Crowl’s study demonstrates the surprising resonances between Roman Polanski’s 1971 film of Macbeth and Adrian Noble’s heralded recent production of the play for The Royal Shakespeare Company; argues that Orson Welles’s films of Othello and Cabins at Midnight are not only brilliant remaining of Shakespeare in another art form but make a powerful contribution to our contemporary understanding of performance as interpretation; and chronicles the impact of Peter Hall’s creation of the Royal Shakespeare Company in 1960 on performance approaches to Shakespeare in the past thirty years. Shakespeare Observed provides full interpretative readings of key recent Shakespeare productions in England and includes an intimate behind-the-scenes glimpse into the rehearsal process which produced Ron Daniels’s emotionally charged version of Romeo and Juliet for the RSC in 1980. The final chapter uses Kenneth Branagh’s highly successful film of Henry V as a summary example of the trends and influences Crowl’s study traces, seeing the film as gathering its interpretative energies from both Olivier’s famous film version of the play and Adrian Noble’s stage production featuring Branagh as the king. Written in a style which places a premium on capturing the vivid and often dazzling moments of stage and film performances of Shakespeare, Crowl’s study will be of interest to the avid film and theatergoer as well as to the scholar and student. Shakespeare Observed joins a growing list of recent critical works which have significantly expanded and redefined the boundaries of Shakespeare studies in our time.

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The long-awaited memoir by movie and theatre legend, Brian Cox.A Guardian, Times, Sunday Times and Independent Book of the Year*Featuring a foreword by the executive producer of Succession, Frank Rich*From Titus Andronicus with the RSC to media magnate Logan Roy in HBO's Succession, Brian Cox has made his name as an actor of unparalleled distinction and versatility. We know him on screen, but few know of his extraordinary life story.Growing up in Dundee, Scotland, Cox lost his father when he was just eight years old and was brought up by his three elder sisters in the aftermath of his mother's nervous breakdowns and ultimate hospitalization. After joining the Dundee Repertory Theatre at the age of fifteen, you could say the rest is history - but that is to overlook the enormous graft that has gone into the making of the legend we know today. This is a rags-to-riches life story like no other - a seminal autobiography that both captures Cox's distinctive voice and his very soul.'One of the best showbiz memoirs ever written... it's as funny as it is furious... Brian Cox has done everything and with this book he leaves everyone else standing' Mail on Sunday'Absolute heaven' Sunday Times'A hugely readable memoir from a giant of stage and screen' Mark Kermode'A life well lived and a story well told. From first page to last Brian Cox the great actor is Brian Cox the great storyteller, and nobody is spared his sharp eye and his caustic wit, himself and some big Hollywood names included' Alastair Campbell'Laced with his characteristic generosity, self-deprecation and cut-the-crap wisdom' Harriet Walter'Mesmerizing' Peter Biskind'Blisteringly brilliant' Bryony Gordon'Funny and irreverent' The Times

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Anthony Neilson is often described as one of the most exciting and challenging voices in contemporary British theatre. For over two decades he has acquired a reputation for innovation and experimentation in both writing and directing having worked with companies such as The Royal Court, The RSC and the National Theatre. This third play collection of his most recent major works brings together five plays in publication for the first time, offering an important documentary of his original work since 2008. Relocated (2008) originally premiered at the Royal Court, directed by the author, where it was described as a “sinister mystery” play and “not an experience for the faint-hearted…morally challenging and riveting…leaves an indelible stain on the memory” (The Times). Get Santa! (2010) is a magical, musical and mischievous Christmas show with a fresh moral featuring music by Nick Powell. It’s Christmas Eve but Holly isn’t happy. All she’s ever wanted from Santa is to meet her real Dad for the first time. And every time, Santa’s failed to deliver, bringing lots of useless presents instead. Well, Holly’s had enough. This year she has a plan. She’s going to wait up and trap Santa when he arrives and get from him the only present she’s ever wanted. Narrative (2013) originally premiered at the Royal Court Theatre Upstairs. Devised throughout rehearsal with a seven-strong cast it’s a play about storytelling and the narratives of our everyday lives. Unreachable (2016) was described as an “intoxicatingly chaotic comedy” (Time Out) which follows a film director on an obsessive quest to capture the perfect light. Originally running at the Royal Court Theatre in a production that starred Matt Smith, it broke boundaries by offering audiences a digital insight into the rehearsal process through online content which documented and shaped the devising process. The Prudes (2018) is a comedy about relationships in the current sexual climate; and a vicious satire on the male response to it. Jess and Jimmy haven’t done it in a year. Fourteen months and four days to be exact. It’s definitely not the seven year itch – they’ve been together nine. Now they’re coming together in a last-ditch effort to re-boot their sex life and save their relationship. But a lot has changed in a year; for them and for the world. Described as a “smart, sketchy, amusing, awkward, stimulating two-hander” (The Times), it originally premiered at the Royal Court Upstairs. Published to coincide with his adaptation of The Tell-Tale Heart at the National Theatre in December 2018, this play collection is an important and unique anthology of a major international voice of contemporary theatre.

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The long-awaited memoir by movie and theatre legend, Brian Cox.A Guardian, Times, Sunday Times and Independent Book of the Year*Featuring a foreword by the executive producer of Succession, Frank Rich, an executive producer of HBO's Succession, a former chief drama critic of The New York Times, and the author of the memoir Ghost Light.*'One of the best showbiz memoirs ever written... it's as funny as it is furious... Brian Cox has done everything and with this book he leaves everyone else standing' Mail on SundayFrom Titus Andronicus with the RSC to media magnate Logan Roy in HBO's Succession, Brian Cox has made his name as an actor of unparalleled distinction and versatility. We know him on screen, but few know of his extraordinary life story.Growing up in Dundee, Scotland, Cox lost his father when he was just eight years old and was brought up by his three elder sisters in the aftermath of his mother's nervous breakdowns and ultimate hospitalization. After joining the Dundee Repertory Theatre at the age of fifteen, you could say the rest is history - but that is to overlook the enormous graft that has gone into the making of the legend we know today. This is a rags-to-riches life story like no other - a seminal autobiography that both captures Cox's distinctive voice and his very soul. Rich in emotion and meaning, with plenty of laughs along the way, it will be a classic in the vein of The Moon's a Balloon by David Niven and What's It All About by Michael Caine.'Absolute heaven' Sunday Times'A hugely readable memoir from a giant of stage and screen' Mark Kermode'A life well lived and a story well told. From first page to last Brian Cox the great actor is Brian Cox the great storyteller, and nobody is spared his sharp eye and his caustic wit, himself and some big Hollywood names included' Alastair Campbell'Laced with his characteristic generosity, self-deprecation and cut-the-crap wisdom' Harriet Walter'Mesmerizing' Peter Biskind'Blisteringly brilliant' Bryony Gordon'Funny and irreverent' The Times

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Over the past decade there has been a resurgence of interest in growing fruit and vegetables in the garden and on the allotment. Part of the driving force behind this is an increased awareness of the health benefits that can be derived from fruit and vegetables in the diet. The 'five helpings a day' dictum reflects the correlation between a regular consumption of fruit and vegetables and a reduced incidence of, for example, cardiovascular disease and some cancers. Growing your own vegetables provides the opportunity to harvest them at their peak, to minimize the time for post-harvest deterioration prior to consumption and to reduce their 'food miles'. It also provides an opportunity to grow interesting and less common cultivars. The combination of economic advantages and recreational factors add to the pleasure of growing fruit and vegetables. This book covers the natural products that have been identified in common 'home-grown' fruit and vegetables and which contribute to their organoleptic and beneficial properties. Over the last fifty years the immense advances in separation methods and spectroscopic techniques for structure elucidation have led to the identification of a wide range of natural products in fruit and vegetables. Not only have many of their beneficial properties been recognized but also their ecological roles in the development of plants have been identified. The functional role of many of these natural products is to mediate the balance between an organism and its environment in terms of microbial, herbivore or plant to plant interactions. The book is aimed at readers with a chemical background who wish to know a little more about the natural products that they are eating, their beneficial effects, and the roles that these compounds have in nature. Developments in the understanding of the ecological and beneficial chemistry of fruit and vegetables have made the exploration of their chemical diversity a fascinating and expanding area of natural product chemistry and readers will obtain some 'taste' for this chemistry from the book. It develops in more detail the relevant sections from the earlier RSC book 'Chemistry in the Garden'. The book begins with an outline of the major groups of compound that are found in fruit and vegetables. This is followed by a description of aspects of environmental chemistry that contribute to the successful cultivation of these crops. Subsequent chapters deal with individual plants which are grouped in terms of the part of the plant, roots, bulbs and stems, leaves, seeds, that are used for food. The final chapters deal with fruit and herbs. The epilogue considers some general aspects of ecological chemistry and climatic stress which may, in the future, affect the growth of fruit and vegetables in the garden particularly in the context of potential climate changes. The book concludes with a section on further reading, a glossary of terms used in plant chemistry and a list of the common fruit and vegetables grouped in their plant families.

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