The Hogarth Plays catch one of England's most celebrated artists at two crucial points in his career: once at the beginning, and once at the end. In The Art of Success the events of ten tumultuous years are compressed into a single night, as newlywed William Hogarth makes his way through eighteenth-century London's high society and its debauched underworld. The play was first performed by the Royal Shakespeare Company at The Other Place, Stratford-upon-Avon, in 1986. A world premiere, The Taste of the Town begins in Chiswick some thirty years later. Hogarth, now a famous artist, is still at odds with the world, and with his wife. Facing public ridicule for what he considers his finest painting, he goes looking for one last fight. Nick Dear's double-bill premiered at the Rose Theatre, Kingston, London in September 2018.
A reimagining of one of Shakespeare's most well-read tragedies, by the contemporary, critically acclaimed master of domestic drama Henry Dunbar, the once all-powerful head of a global media corporation, is not having a good day. In his dotage he hands over care of the corporation to his two eldest daughters, Abby and Megan, but as relations sour he starts to doubt the wisdom of past decisions. Now imprisoned in Meadowmeade, an upscale sanatorium in rural England, with only a demented alcoholic comedian as company, Dunbar starts planning his escape. As he flees into the hills, his family is hot on his heels. But who will find him first, his beloved youngest daughter, Florence, or the tigresses Abby and Megan, so keen to divest him of his estate? Edward St Aubyn is renowned for his masterwork, the five Melrose novels, which dissect with savage and beautiful precision the agonies of family life. His take on King Lear, Shakespeare’s most devastating family story, is an excoriating novel for and of our times – an examination of power, money and the value of forgiveness.
NEW YORK TIMES BESTSELLER • The beloved author of The Handmaid’s Tale reimagines Shakespeare’s final, great play, The Tempest, in a gripping and emotionally rich novel of passion and revenge. “A marvel of gorgeous yet economical prose, in the service of a story that’s utterly heartbreaking yet pierced by humor, with a plot that retains considerable subtlety even as the original’s back story falls neatly into place.”—The New York Times Book Review Felix is at the top of his game as artistic director of the Makeshiweg Theatre Festival. Now he’s staging aTempest like no other: not only will it boost his reputation, but it will also heal emotional wounds. Or that was the plan. Instead, after an act of unforeseen treachery, Felix is living in exile in a backwoods hovel, haunted by memories of his beloved lost daughter, Miranda. And also brewing revenge, which, after twelve years, arrives in the shape of a theatre course at a nearby prison. Margaret Atwood’s novel take on Shakespeare’s play of enchantment, retribution, and second chances leads us on an interactive, illusion-ridden journey filled with new surprises and wonders of its own. Praise for Hag-Seed “What makes the book thrilling, and hugely pleasurable, is how closely Atwood hews to Shakespeare even as she casts her own potent charms, rap-composition included. . . . Part Shakespeare, part Atwood, Hag-Seed is a most delicate monster—and that’s ‘delicate’ in the 17th-century sense. It’s delightful.”—Boston Globe “Atwood has designed an ingenious doubling of the plot of The Tempest: Felix, the usurped director, finds himself cast by circumstances as a real-life version of Prospero, the usurped Duke. If you know the play well, these echoes grow stronger when Felix decides to exact his revenge by conjuring up a new version of The Tempest designed to overwhelm his enemies.”—Washington Post “A funny and heartwarming tale of revenge and redemption . . . Hag-Seed is a remarkable contribution to the canon.”—Bustle
Approaches the problems of obscurities, ambiguities, and interrelationships in Pinter's plays through the mechanisms of the dream and shows that the plays group around the oedipal wish.
She noticed him before anyone else. Arriving at his fourth school in six years, diplomat's son Osei Kokote knows he needs an ally if he is to survive his first day - so he's lucky to hit it off with Dee, the most popular girl in school. But one student can't stand to witness this budding relationship: Ian decides to destroy the friendship between the black boy and the golden girl. By the end of the day, the school and its key players - teachers and pupils alike - will never be the same again.
This is the second of three volumes of plays by Henry Fielding, whose vibrant early career in theatre has been overshadowed by his later fame as the author of novels like Tom Jones. The edition makes his plays, and his rich gift for theatrical comedy, accessible for the first time in modern form.
