This House explores Westminster and the 1974 hung parliament through a combination of dialogue, comedy and political comment; and historical and contemporary concerns.
This collection brings together four of Graham's most successful and entertaining plays, each representing a relationship with a theatre with which he has worked and introduced by the author. One of the plays, Sons of York, has never before been published, but earned James Graham a nomination for the Empty Space Mark Marvin Award. A History of Falling Things is a gentle love story about a young man and woman forced to confront their fears of the outside world and discover what really matters to their lives. Tory Boyz is a fast-paced, political comedy about prejudice and ambition in Westminster, looking at homosexuality in the British Conservative party, both today and in the past. As Ben, self-employed, skint and emotionally vulnerable, begins to stitch together the patchwork quilt that was the Tax Year 2009/2010, he relives a year that was both hilarious and tragic, all mixed up in one shoe box of receipts. The Man is an affectionate and funny portrait of an individual's year-long experience, pieced together from receipts, shopping and commercial transactions. The Whisky Taster is a contemporary, subtle and witty exploration of feeling and perception in the modern world of advertising, and about seeing things too clearly in a city that never stands still. Sons of York Described as 'undoubtedly one of the best new plays of the year' (British Theatre Guide), Sons of York depicts three generations of the same family moving in together in Hull as the Winter of Discontent of 1978 builds up.
James C. Hogan introduces each play by highlighting specific and interpretive problems relevant to that play before turning to a line-by-line analysis. The line analysis is comprehensive, ranging from the meanings of words and phrases that pertain to a variety of Greek ideas and institutions to metaphor and imagery specific to each play as well as plots and borrowings from earlier poetry, styles, and characterizations. Along with his examination of the seven extant plays of Sophocles in English translations, Hogan provides a general introduction to the theatre in Sophocles' time, discussing staging, the conventions of the Greek theatre, the text of the plays, and mythology and religion.
I want to tell you a story. And it's true. That's what makes it a good fucking story, right, 'cause all the best stories are true. Fleet Street. 1969. The Sun rises. James Graham's ruthless, red-topped play leads with the birth of this country's most influential newspaper – when a young and rebellious Rupert Murdoch asked the impossible and launched its first editor's quest, against all odds, to give the people what they want. Ink was first published to coincide with the world premiere of the play at the Almeida Theatre, London, on 17 June 2017, in a production directed by Rupert Goold.
This dramatization of Roald Dahl's beloved book can be performed in school and at summer camp, acted out at home or simply read together by a group of friends.
This volume contains everything Wilde wrote in dramatic form Wilde's masterpiece The Importance of Being Earnest is printed here in its usual three-act form, but with an appendix containing the best material from the original four-act version. Also included are his three 'problem plays', Lady Windermere's Fan, A Woman of No Importance and An Ideal Husband, as well as his once-banned Salome and several other little-known but fascinating dramas. H. Montgomery Hyde, an acknowledged expert on Wilde and author of several books on him, provides an introduction to Wilde's life and work with special attention to the composition and performance of the plays. "Wilde is to me our only thorough playwright. He plays with everything: with wit, with philosophy, with drama, with actors and audiences, with the whole theatre" (George Bernard Shaw)
In the first half of the twentieth century, many writers and artists turnedto the art and received example of the Elizabethans as a means ofarticulating an emphatic (and anti-Victorian) modernity. By the middleof that century, this cultural neo-Elizabethanism had become absorbedwithin a broader mainstream discourse of national identity, heritage andcultural performance. Taking strength from the Coronation of a new, youngQueen named Elizabeth, the New Elizabethanism of the 1950s heralded anation that would now see its 'modern', televised monarch preside over animminently glorious and artistic age.This book provides the first in-depth investigation of New Elizabethanismand its legacy. With contributions from leading cultural practitioners andscholars, its essays explore New Elizabethanism as variously manifestin ballet and opera, the Coronation broadcast and festivities, nationalhistoriography and myth, the idea of the 'Young Elizabethan', celebrations ofair travel and new technologies, and the New Shakespeareanism of theatreand television. As these essays expose, New Elizabethanism was muchmore than a brief moment of optimistic hyperbole. Indeed, from moderndrama and film to the reinternment of Richard III, from the London Olympicsto the funeral of Margaret Thatcher, it continues to pervade contemporaryartistic expression, politics, and key moments of national pageantry.