debbie tucker green's new play premieres at the Royal Court Theatre, London, in February 2017.

Despite the recent turn to affects and emotions in the humanities and despite the unceasing popularity of romantic and erotic love as a motif in fictional works of all genres, the subject has received surprisingly little attention in academic studies of contemporary drama. Love in Contemporary British Drama reflects the appeal of love as a topic and driving force in dramatic works with in-depth analyses of eight pivotal plays from the past three decades. Following an interdisciplinary and historical approach, the study collects and condenses theories of love from philosophy and sociology to derive persisting discourses and to examine their reoccurrence and transformation in contemporary plays. Special emphasis is put on narratives of love’s compensatory function and precariousness and on how modifications of these narratives epitomise the peculiarities of emotional life in the social and cultural context of the present. Based on the assumption that drama is especially inclined to draw on shared narratives for representations of love, the book demonstrates that love is both a window to remnants of the past in the present and a proper subject matter for drama in times in which the suitability of the dramatic form has been questioned.

This long-awaited book is the first full-length study of the work of the extraordinary contemporary black British playwright, debbie tucker green. Covering the period from 2000 (Two Women) to 2017 (a profoundly affectionate, passionate devotion to someone (-noun)), it offers scholars and students the opportunity to engage in cutting-edge critical debate engendered by tucker green’s innovative dramatic works for stage, television, and radio. This groundbreaking book includes contributions by a range of outstanding scholars, including black playwriting specialists, world-leading contemporary theatre scholars and some of the very best emerging researchers in the field. While always focused on the precision and detail of tucker green’s work, this book simultaneously reframes broader debates around contemporary drama and its politics, poses new questions of theatre, and provokes scholarly thinking in ways that, however obliquely, contribute to the change for which the plays agitate.

Maybe turn down the opinionated dial? Hari and Max weren't satisfied with their first attempt at parenthood, so they're giving it a second go. Only this time they've got a 30-day money back guarantee and an easy-to-follow construction manual. They're certain, as long as they follow it step-by-step, he's going to be perfect. This might be a little more complicated than the bed but still, I'm sure its the kind of thing we can crack on our own. Instructions for Correct Assembly premiered at the Royal Court Theatre, London, in the Jerwood Theatre Downstairs on 7 April 2018, in a production directed by Hamish Pirie.

Finalist for the Susan Smith Blackburn Prize 2023 I can imagine myself in the future looking back on this all. And looking back I can feel when the fire was lit. Fifteen-year-old Roxy is burning. Lost somewhere between the bonfire of girlhood and the sharp edge of womanhood, she gathers her friends and begins meddling in witchcraft to search for answers. Shadows are lurking, ready to swallow those she loves most in the world. As friendships fray, fire crackles and blood bubbles, the group unravel the bonds that unite and the secrets that surround them. Maryam Hamidi's Moonset is a blazing, coming-of-age tale filled with love, rage and self-discovery, as four young women search for the power they were promised. Moonset is published in Methuen Drama's Plays For Young People series which offers suitable plays for young performers and audiences at schools, youth groups and youth theatres. This edition was published to coincide with the Citizens Theatre production at Tron Theatre and Traverse Theatre, Scotland, in February 2023.

I'd be hunted there, for the greed of this nation and they won't even give me a place to hide here... but yes, tell me about home, why not? How is home? Rebin, an Iraqi-Kurd with no safe passage home, has been stuck in the UK immigration system for almost a decade, which has given him plenty of time to get into a routine. Work. The local hand carwash, under the nurturing eye of the manager, Destan, an Iranian-Kurd and the discerning eye of the owner- Shapur, a proud Persian. Play. Online gaming with friend Noah, a truck driver and loyal customer of the carwash. Though maybe not so loyal on the virtual battlefield. Indefinite Leave to Remain. Gorkem: new worker at the carwash, and fresh off the boat. A Turkish-Kurd who claims to be the grandson Apo Ocalan – Kurdish 'freedom fighter' and current political prisoner. When boss Shapur proposes using the struggling business as a front for a human trafficking enterprise by smuggling immigrants into the country in the boots of the carwash client's cars, Rebin's routine is about to be shattered. Indefinitely. This edition was published to coincide with the world premiere at Park Theatre in September 2024.

Contemporary European Playwrights presents and discusses a range of key writers that have radically reshaped European theatre by finding new ways to express the changing nature of the continent’s society and culture, and whose work is still in dialogue with Europe today. Traversing borders and languages, this volume offers a fresh approach to analyzing plays in production by some of the most widely-performed European playwrights, assessing how their work has revealed new meanings and theatrical possibilities as they move across the continent, building an unprecedented picture of the contemporary European repertoire. With chapters by leading scholars and contributions by the writers themselves, the chapters bring playwrights together to examine their work as part of a network and genealogy of writing, examining how these plays embody and interrogate the nature of contemporary Europe. Written for students and scholars of European theatre and playwriting, this book will leave the reader with an understanding of the shifting relationships between the subsidized and commercial, the alternative and the mainstream stage, and political stakes of playmaking in European theatre since 1989.