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Lettice Duffet, an expert on Elizabethan cuisine and medieval weaponry, is an indefatigable but daffy enthusiast of history and the theatre. As a tour guide at Fustian House, one of the least stately of London's stately homes, she theatrically embellishes its historical past, ultimately coming up on the radar of Lotte Schon, an inspector from the Preservation Trust. Neither impressed or entertained by Lettice's freewheeling history lessons, Schon fires her. Not one however, to go without a fight, Lettice engages the stoic, conventionial Lotte in battle to the death of all that is sacred to the Empire and the crown. This hit by the author of Equus and Amadeus featured a triumphant award-winning performance by Dame Maggie Smith in London and on Broadway.
A novel about escape and connection, class, sex, and queer intimacy in the American Midwest. The oldest story: an insider pretends to be an outsider and receives praise for his empathy and imagination and intelligence. Maybe some asshole even says bravery. An outsider pretends to be an insider, is exposed as a fraud, a liar, and burned to the ground. In Ripcord, Nate Lippens continues his meditations on escape and connection, class, sex, and intimacy. Stuck in Milwaukee, the narrator cobbles together a living by bartending and catering weddings, enmeshed in a semiaffair with a younger, married man. Cruising apps while tallying his youthful romantic failures, he fantasizes about disappearance but finds both solace and frustration in his friendships with Charlie, an aging punk who was prominent in the 1990s Chicago queercore scene, and Greer, a painter who never broke through but continues making work.
The Circle is set in the fashionable drawing room of Aston-Adey, the Champion-Cheneys' house in Dorset. Maugham's plot, which may be unfamiliar, contains two triangles, each of a husband, wife, and lover. The first of these includes Clive, a cuckolded husband, Lady Kitty, his ex-wife, and Lord Porteous, her second husband. Thirty years before the start of the play, Lady Kitty ran off to Italy with Lord Porteous, leaving her husband and five-year-old son Arnold to their own devices. The play opens with the return of this now aged couple to England and a family reunion negotiated by Arnold's curious wife. To complicate matters, the earlier abandoned husband Clive intrudes upon the visiting couple, losing no chance to wreak hilarious verbal havoc. The second triangle, one of young people, consists of the stuffy MP and furniture collector Arnold, his lively but bored wife, and their pleasing house guest Teddie. Bringing matters full circle, Elizabeth and Teddie have fallen for each other. The central concern of the play thus becomes whether they will bolt like the lovers of thirty years ago. Maugham's hall of mirrors action wittily calls to mind the famous question: Do people learn anything from the past, or is the only lesson the past has to offer that people have never learned anything from it?
THE STORY: When two frustrated London housewives decide to rent a villa in Italy for a holiday away from their bleak marriages, they recruit two very different English women to share the cost and the experience. There, among the wisteria blossoms a
I had no idea what was going on. Or very little. No more than most people. So you can't make me feel guilty. Brunhilde Pomsel's life spanned the twentieth century. She struggled to make ends meet as a secretary in Berlin during the 1930s, her many employers including a Jewish insurance broker, the German Broadcasting Corporation and, eventually, Joseph Goebbels. Christopher Hampton's play is based on the testimony she gave when she finally broke her silence to a group of Austrian filmmakers, shortly before she died in 2016. Maggie Smith, alone on stage, plays Brunhilde Pomsel. Christopher Hampton's play is drawn from the testimony Pomsel gave when she finally broke her silence shortly before she died to a group of Austrian filmmakers, and from their documentary A German Life (Christian Krönes, Olaf Müller, Roland Schrotthofer and Florian Weigensamer, produced by Blackbox Film & Media Productions).
The New York Times bestseller now in paperback. One of the preeminent linguists of our time examines the realms of language that are considered shocking and taboo in order to understand what imbues curse words with such power--and why we love them so much. Profanity has always been a deliciously vibrant part of our lexicon, an integral part of being human. In fact, our ability to curse comes from a different part of the brain than other parts of speech--the urgency with which we say "f&*k!" is instead related to the instinct that tells us to flee from danger. Language evolves with time, and so does what we consider profane or unspeakable. Nine Nasty Words is a rollicking examination of profanity, explored from every angle: historical, sociological, political, linguistic. In a particularly coarse moment, when the public discourse is shaped in part by once-shocking words, nothing could be timelier.
"A breathless, exhilarating crash course in the low morality of high finance" Independent Serious Money is perhaps Caryl Churchill's most notorious play. A satirical study of the effects of the Big Bang, it premiered at the Royal Court in 1987 and transferred to the West End. Since then, it has prompted city financiers the world over to applaud and decry its presentation of their lives. British Telecom refused to provide telephones for the Wyndham's production, writing to say that "This is a production with which no public company would wish to be associated". This student edition contains a chronology of the playwright's life and work; an introduction giving the background to the play, a discussion of the various interpretations and notes on individual words and phrases in the text.