If You Don T Let Us Dream We Won T Let You Sleep

"I believe that open markets and free enterprise are the best imaginable force for improving human wealth and happiness. And I would go further: where they work properly, they can actually promote morality." David Cameron, January 2012 Anders Lustgarten's play is an exploration of our current government's politics of austerity and a look at possible alternatives. If You Don't Let Us Dream, We Won't Let You Sleep was supported by the Harold Pinter Playwright's Award which is given annually by Pinter's widow Lady Antonia Fraser.

New Monologues for Men features forty monologues from plays published by Bloomsbury Methuen Drama recently. The monologues are selected by the editor, Geoffrey Colman, on account of their suitability and relevance to drama school students and recent graduates entering the profession. Each monologue is preceded by an introductory paragraph, written by the editor, outlining the setting, character type, and point in the plot. Suggestions are offered for staging, performance decisions, points of significance in the text, and drawing on decisions made in professional production/s. This collection is the go-to resource for auditioning actors with an insatiable appetite for new, original and excellent material.

This book examines contemporary English drama and its relation to the neoliberal consensus that has dominated British policy since 1979. The London stage has emerged as a key site in Britain’s reckoning with neoliberalism. On one hand, many playwrights have denounced the acquisitive values of unfettered global capitalism; on the other, plays have more readily revealed themselves as products of the very market economy they critique, their production histories and formal innovations uncomfortably reproducing the strategies and practices of neoliberal labour markets. Stage Business and the Neoliberal Theatre of London thus arrives at a usefully ambivalent political position, one that praises the political power of the theatre – its potential as a form of resistance to the neoliberal rationality that rides roughshod over democratic values – while simultaneously attending to the institutional bondage that constrains it. For, of course, the theatre itself everywhere straddles the line of capitulating to the marketization of our cultural life.

Anka got in and is here for good. Olufemi is being coached to break back in. Bashir has been here forever but he's just been sent to limbo. Lisa wants to send them all home. Welcome to England. A journey into to the heart of what it is to be a citizen, and finding a place where you belong. A cutting new play about immigration and exile, and what happens when people fall through the cracks, Routes opens up the borders of friendship and family.

The first play collection from Anders Lustgarten, "perhaps Britain's most visible and visibly engaged political playwright" (Time Out London), containing plays from the start of his career up to 2015 with the most recent play in the collection, Shrapnel, and one previously unpublished play. The volume includes an introduction by the playwright. A Day at the Racists (2010, Finborough Theatre) is a devastatingly timely examination of the rise of the BNP in London, which attempts to understand why people might be drawn to the BNP and diagnoses the deeper cause of that attraction: the political abandonment and betrayal of the working class by New Labour. If You Don't Let Us Dream, We Won't Let You Sleep (Royal Court Theatre, 2013) offers an exploration of our current government's politics of austerity and a look at possible alternatives. Black Jesus (Finborough Theatre, 2013) unpicks the political complexities of Zimbabwe through the devastating personal journeys of two very different people, both scarred by one of Africa's most notorious dictatorships. Shrapnel (Arcola Theatre, 2015) takes as its subject The Roboski massacre is one of the most controversial episodes in the 'war on terror'. Piecing together the fragments of the tragedy, Anders Lustgarten's startling new play dares to ask what a massacre is made of. Kingmakers (Salisbury Playhouse, 2015) imagines ten years after the signing of Magna Carta when the barons' takeover isn't quite going to plan. With the peasants grumbling about enormous castles and broken promises, the threat of rebellion hangs in the air. This play has not previously been published. The Insurgents (Finborough Theatre, 2007) is Anders Lustgarten's look at contemporary London and its class divide. Private equity has turned the city into a high-fenced playground for a tax-exempt, big business elite. This play has not previously been published.

Dawn breaks over Vancouver and no one in the world has slept the night before, or almost no one. A few people, perhaps one in ten thousand, can still sleep, and they’ve all shared the same golden dream. After six days of absolute sleep deprivation, psychosis will set in. After four weeks, the body will die. In the interim, panic ensues and a bizarre new world arises in which those previously on the fringes of society take the lead. Paul, a writer, continues to sleep while his partner Tanya disintegrates before his eyes, and the new world swallows the old one whole.

My name is Amber Reynolds. There are three things you should know about me: 1. I’m in a coma. 2. My husband doesn’t love me anymore. 3. Sometimes I lie. Amber wakes up in a hospital. She can’t move. She can’t speak. She can’t open her eyes. She can hear everyone around her, but they have no idea. Amber doesn’t remember what happened, but she has a suspicion her husband had something to do with it. Alternating between her paralyzed present, the week before her accident, and a series of childhood diaries from twenty years ago, this brilliant psychological thriller asks: Is something really a lie if you believe it's the truth?