Glass Kill Bluebeard Imp

'I can see her just. Most people can't see her at all.' A girl made of glass. Gods and murders. A serial killer's friends. Three stories by Caryl Churchill. Glass. Kill. Bluebeard. is premiered at the Royal Court Theatre, London, in September 2019. 'Caryl Churchill has remade the landscape of contemporary drama - and earned herself a place among the greats' Guardian

Four short plays by Britain's greatest living playwright.

Your partner's died, could things have been different? This edition also includes the resonant and surreal short piece, Air.

In a broken world, two girls meet an extraordinary creature. The Skriker is a shapeshifter and death portent. She can be an old woman, a child, a young man. She is a faerie come from the Underworld to pursue and entrap them, through time and space, through this world and her own. The Skriker was originally produced at the National Theatre, London, in 1994. It was revived at the Royal Exchange Theatre, Manchester, in 2015, as part of the Manchester International Festival, starring Maxine Peake, directed by Sarah Frankcom and featuring specially commissioned music by Nico Muhly and Antony of Antony and the Johnsons. The Skriker is also available in the volume Caryl Churchill Plays: Three.

'What lies beneath the apparent simplicity of Kunene and the King is a lot of moral, political and existential depth. This is testimony to the brilliance of John Kani.' – EUSEBIUS McKAISER South Africa, 2019. Twenty-five years since the first post-apartheid democratic elections. Jack Morris is a celebrated classical actor who has just been given a career-defining role and a life-changing diagnosis. Lunga Kunene is a retired senior male nurse from Soweto now working for private patients. Besides their age, they appear not to have much in common. But a shared passion for Shakespeare soon ignites a 'rich, raw and shattering head-to-head' (The Times) as the duet from contrasting walks of life unpack the racial, political and social complexities of modern South Africa. Kunene and the King is a vital play that combines the magnificence of classic Shakespearean comedy, tragedy and history to reflect on a new yet deeply wounded society.

"Smith’s powerful style of living journalism uses the collective, cathartic nature of the theater to move us from despair toward hope.” —The Village Voice Anna Deavere Smith’s extraordinary form of documentary theater shines a light on injustices by portraying the real-life people who have experienced them. "One of her most ambitious and powerful works on how matters of race continue to divide and enslave the nation” (Variety). Smith renders a host of figures who have lived and fought the system that pushes students of color out of the classroom and into prisons. (As Smith has put it: “Rich kids get mischief, poor kids get pathologized and incarcerated.”) Using people’s own words, culled from interviews and speeches, Smith depicts Rev. Jamal Harrison Bryant, who eulogized Freddie Gray; Niya Kenny, a high school student who confronted a violent police deputy; activist Bree Newsome, who took the Confederate flag down from the South Carolina State House grounds; and many others. Their voices bear powerful witness to a great iniquity of our time—and call us to action with their accounts of resistance and hope.

"I'm walking down the street and there's a door in the fence open and inside there are three women I've seen before." Three old friends and a neighbour. A summer of afternoons in the back yard. Tea and catastrophe. Escaped Alone premiered at the Royal Court Theatre, London, in 2016, in a production directed by James MacDonald.

This is the first book to examine how the concept and disagreements around post-truth have been explored in the world of theater and performance. It covers a wide spectrum of manifestations and expressions-from the plays of Caryl Churchill, Anne Washburn, and David Henry Hwang, to the inherent theatricality of press conferences, FBI interviews and protests that embrace the confusion created by post-truth rhetoric to muddy issues and deflect blame, to theatrical performance, where the nature of truth is challenged through staged visuals which run counter to what the audience hears, provoking a debate about where the truth actually lies. With contributions by scholars from around the world, Theater in a Post-Truth World considers a wide array of examples from American and British drama and politics, Australian theater, and the work of performance artist Marina Abramovic. Together these provide a glimpse into how the theater in its many forms provides a venue to raise awareness and encourage critical thinking about the contemporary ubiquity of post-truth.