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It's no secret that Sylvie is unravelling. Frozen in time in her Blundellsands house, she inhabits a fantasy world that never was. Garnet, her sister, is older and wiser – and wearier, with her shopping lists and tired love. She's always fanned the flames of Sylvie's fantasies. Because if she didn't... who knows where they'd both end up? But now the whole family's up in Liverpool for a birthday, and Garnet's got a secret of her own to pass on. There'll be a party... but it's not going to be pretty. Welcome to a family more messed up than your own.
It's no secret that Sylvie is unravelling. Frozen in time in her Blundellsands house, she inhabits a fantasy world that never was. Garnet, her sister, is older and wiser – and wearier, with her shopping lists and tired love. She's always fanned the flames of Sylvie's fantasies. Because if she didn't... who knows where they'd both end up? But now the whole family's up in Liverpool for a birthday, and Garnet's got a secret of her own to pass on. There'll be a party... but it's not going to be pretty. Welcome to a family more messed up than your own.
All the world's a stage. Have you ever been trapped in a bad relationship, playing a role that doesn't suit you? Jen and Sam are also trapped ... in a multiverse of Shakepeare's complete works. On their quest to discover the doorway back to reality they notice something unusual about Henry 'Hotspur' Percy. Now Jen and Sam must decide; do they risk losing their way home to help someone who might be like them – someone who does not yet know who she truly is? The Prince is a sharp new play that weaves through Henry IV Part One and other of the Bard's works, providing fun for the audience whether they be Shakespeare scholars or verse virgins. With sword fighting, lesbianism, and disappointed parents, this thrilling new work was written by Abigail Thorn, celebrated creator of Philosophy Tube. This edition was published to coincide with the world premiere at London's Southwark Playhouse, in September 2022.
Life's full of clatter, but none of it matters, only who'll hold your paw when you die. What would you do if you lost an hour from your day? How far would you go to rescue what you've lost? In search of a lost hour that has tipped the balance of her life, Lisa Jones is on a quest through a surreal world, filled with insecurity guards, flying cars, singing polar bears and wild-goose chases. The inhabitants of Dissocia are a curious blend of the funny, the friendly and the downright brutal. Anthony Neilson's cult play is a poignant and comical delve into the nature of mental illness. This edition was published to coincide with the major London revival at Theatre Royal Stratford East in September 2022.
Nestled in the heart of Snowdonia, the small town of Milky Peaks is nominated for 'Britain's Best Town'. However, the award brings with it a dark, insidious right-wing agenda, threatening the heart and soul of the town. Can the community club together to save the identity of their beloved Milky Peaks?
Teenage boys Ste and Jamie are neighbours on a South London estate. Jamie is more knowledgeable about The Sound of Music than football, while classmate Ste never misses a sports day. Both are being bullied, Jamie at school and Ste at home by his violent father and brother. One night, when things get too much, Ste seeks refuge in Jamie's flat and, sharing a bed, the boys strike up a new relationship. Together they come to terms with their sexuality and explore their feelings alongside their Mama Cass loving, rebellious friend Leah and with the much-needed emotional support of Jamie's lioness mother, Sandra. Thirty years on from its initial publication, Jonathan Harvey's iconic, coming-out and coming-of-age story set in the nineties still resonates with ideas on community, friendship, rites of passage and what it is to be sixteen and in love. This edition is published to coincide with the revival at London's Stratford East theatre, in September, 2023.
The party ain't over yet! As long as that music keeps playing, I'll keep dancing! Raw, rude and raucous, Cherry Jezebel is a dazzling new drama. Hilarious and heartbreaking, it's a champagne blowout and the hangover from hell, a spin under the glitterball that lands in the gutter. The bass is pounding, the audience are cheering, and Cherry Brandy is blinking back tears. Tonight's the night she's finally recognised as the Queen she is, with the crown to prove it. Is this the triumphant moment she's always dreamed of? Behind the mascara, the wigs and the six-inch stiletto heels, all that glitters isn't gold. At least she's always got her best mate Heidi. But growing up queer in Liverpool is grim, and the queer family they've forged is about to slip through Cherry's nicotine-stained fingers. From the boudoirs to the bathrooms of Liverpool's gloriously gobby drag scene, Cherry Jezebel is a riot of lipstick and split lips, of bitching and bruises. It's a play that celebrates queerness while spilling the tea on the pain behind the polish.
This study, situated within the field of Language and Sexuality Studies, investigates the characterisation of fictional gay men in 21st-century British drama. The research is based on a corpus of 61 plays, staged between 2000 and 2020, which collectively feature 187 gay male characters. The study employs methodological triangulation to explore the corpus from three distinct perspectives, moving from broad trends to more detailed analyses. The first section offers an overview of 20th and 21st-century British drama featuring gay characters, identifying general trends in the portrayal of homosexuality in contemporary British theatre. The second section delves into the 187 fictional gay characters, classifying them according to both sociolinguistic variables (such as age, social class, and linguistic variety) and variables specific to Language and Sexuality Studies (including levels of openness about their sexuality and their distinctive use of “gayspeak”). The final section takes an eclectic approach, providing a multifaceted analysis of the “gayspeak” observed in the corpus. This is done through both manual analysis and a corpus-assisted approach using #Lancsbox software. The primary goal of this section is to evaluate whether the features of “gayspeak” identified in earlier studies persist in the contemporary plays under examination.