An epic love story for our times. Unable to age until she has cried, Tanya must collect the tears of others in glass bottles down through the centuries – and through her stories, bear witness to the pain and suffering of the people. Taking both male and female lovers, Tanya is an outcast, hunted by those who misunderstand her until the day comes when she finally stands up to be counted – and learns how to cry. Also part of this collection: ‘ghost-tag’, ‘ryan yr tits are leakin’, ‘widescream’, ‘chair held aloft’, ‘when i return as lenin’ and ‘cocoon’.

From beautiful adaptations of classics to exciting new writing, Duffield is a master of storytelling. Commissioned by theatres and community groups in the UK, these plays offer strong roles for both men and women, as well as the opportunity for song and dance. They will appeal to schools and youth theatres as well as both amateur and professional performers. Using a mixture of storytelling, theatre and song, BROTHERS IN ARMS draws on the true story of two brothers from a Yorkshire pit village – one of whom steadfastly refused to fight in World War I, while the other volunteered and served on the front line in France. Cast 8 minimum. Adapted from Hugo’s novel, THE HUNCHBACK OF NOTRE DAME is ‘remarkably faithful to the author’s original intention... a faultless production.’ – THE MORNING STAR Cast 8 minimum. WITH ALL MY LOVE is a tale of conspiracy and betrayal, of family feuds and deep-held secrets, of a woman’s struggle to keep faith with a husband transported to the other side of the world. Suitable for large cast productions, aimed at a general audience.

The Portuguese visual artist Paula Rego has inspired this trilogy of plays. Her paintings Crivelli’s Garden, The Prey and Breaking China became the catalyst for writing by theatre maker Fiona Graham. Commissioned by Theatre Centre and Komedia, these three new plays were developed for specific audiences through a series of artist/audience residencies and collaborations. These works have toured Britain and been re-staged in Portugal and Singapore. Crivellis’s Garden was created for a 16+ audience and explores rites of passage as two young women decide whether they should stay or leave their fishing village to go to university in Portugal. Between Friends is for 7 -11 year olds and examines the politics of friendship between three young people when they are shipwrecked and abandoned in a lighthouse. Breaking China is for 4-8 year olds and shows the importance of creative play and storytelling when making sense of change and adversity. About the author DR FIONA GRAHAM Fiona teaches dramaturgy at Goldsmiths University. Previously she spent over a decade in New Zealand writing and teaching at Auckland University. Her plays include: Passage (The Herald Theatre, Auckland 2010), Breaking China (Theatre Centre, 2002 and Singapore’s International Festival, 2004) and Legacy (for Massive Theatre Company, 1998). Most recently she worked as dramaturge with Otago University and Talking House Theatre Company on Be/Longing and Hush, with Red Leap Theatre Company on Paper Sky and Sea, with playwright Mei-Lin Hansen on The Mooncake And The Kumara, with Winning Productions on I Wanna Be -- Ponsonby and Carol Brown on 1000 Lovers and the Pah Collective. Her book Catalyst For Change: The Interventions of the Dramaturge was published in New Zealand in 2017. Reviews: ‘Graham’s poetically eloquent script flows like molten silver and should give students, teachers and other theatregoers much to think about’ (on Crivelli’s Garden) – The Stage ‘A prime example of how an excellent script innovatively directed and beautifully performed can be applied to a wide age range. This joyful production provides much food for thought.’ (on Breaking China) – The Stage

Unable to age until she has cried, Sunderland-born Tanya Sealt instead collects tears across 400 years of radical history, names her bisexuality and at long-last cries - tears of joy the day Margaret Thatcher resigns.

Learn to interview people of all ages and write their life stories, experiences, highlights, and turning points as events and rites of passages in plays, skits, and monologues. Write radio and Internet-broadcast plays and make videobiographies. Interview people, and write dramatizations for the high-school or older adult audience with performers of all ages. Write for radio, interactive education, multimedia, netcasting, and the stage, video or film...using excerpts from the life stories of real people, current events, social issues, and history. Learn to adapt and write multi-cultural, ethnic, and specific niche audience plays, skits, and monologues for the stage. Perform or write life stories from diaries and journals. Choose an audience--older adult, all ages, children, junior and senior high schools/teens, or college students. Then interview people and select excerpts from life stories or news to turn into plays, skits, monologues or videobiographies. Make time capsules or broadcast drama on the Web. Your playwriting skills now can use personal and oral history to develop powerful drama, motivate, and inspire memories. Perform the original three-act play, Coney Island, in this book or the monologue that follows. Write, adapt, or perform plays with multi-ethnic themes for a variety of audiences of all ages.

Unable to age until she has cried, Tanya must collect the tears of others in glass bottles down through the centuries and through her stories, bear witness to the pain and suffering of the people. Tanya is an outcast, hunted by those who misunderstand her until the day comes when she finally stands up to be counted.

Arnold Wesker's plays, written over a period of more than fifty years, offer actors, male and female, a remarkable source of monologues covering themes such as friendship, death, old age, political disillusion, failed love, and self-discovery fuelled by emotions ranging through anger, joy, hope, fear, outrage, love, bewilderment, guilt, and comic irony. This is Wesker's own selection of them. In addition to definitive versions of famous monologues such as Paul’s speech from The Kitchen and Beatie Bryant’s triumphant speech from the end of Roots, this volume constitutes an introduction to an unknown Wesker. To those already familiar with The Wesker Trilogy and other plays, this volume contains further evidence of this author's power and passion.The volume also includes synopses of the plays from which the monologues come.