Four full-length plays and two previously unpublished shorts from the multi-award-winning author of Jerusalem. Jez Butterworth burst onto the theatre scene aged twenty-five with Mojo, ‘one of the most dazzling Royal Court main stage debuts in years’ (Time Out). This first volume of his Collected Plays contains that play plus the three that followed, as well as two short one-person pieces published here for the first time – everything in fact that precedes Jerusalem, ‘unarguably one of the best dramas of the twenty-first century’ (Guardian). Plays One includes: Mojo The Night Heron The Winterling Leavings (previously unpublished) Parlour Song The Naked Eye (previously unpublished) Introducing the plays is an interview with Jez Butterworth specially conducted for this volume.
* Jez Butterworth burst onto the theatre scene aged twenty-five with Mojo, "one of the most dazzling Royal Court main stage debuts in years” (Time Out). This first volume of his Collected Plays contains that play plus the three that followed, as well as two short one-person pieces published here for the first time - everything in fact that precedes Jerusalem, "unarguably one of the best dramas of the twenty-first century” (Guardian). * Mojo, staged in 1995 but set in the Soho clubland of 1958, "superbly captures the atmosphere of the infant British rock and roll scene where seedy low-lifers hustle for the big time” (Daily Telegraph). It is "Beckett on speed” (Observer) by a "dramatist of obvious talent and terrific promise” (The Times). * The Night Heron (2002) is set in Cambridgeshire Fens amongst assorted oddballs, birdwatchers and the local constabulary. "It’s funny, it’s sad, it’s haunting and it is also strangely beautiful. Above all, it is quite unlike anything you’ve ever seen before” (Daily Telegraph). * In The Winterling (2006) a gangland fugitive is visited by two associates from the city who have other things on their mind than a jolly reunion. "The dialogue is testosterone taut, a sense of menace invades every conversation... and as tales of torture and treachery unfold, the black comedy never misses” (Time Out). * The housing estate in Parlour Song (2008) is "a place of illicit desire and painful memories, of bad dreams and mysterious disappearances... a play that combines the comic, the erotic and the downright disconcerting with superb panache” (Daily Telegraph). * Introducing the plays is an interview with Jez Butterworth specially conducted for this volume
'Come, you drunken spirits. Come, you battalions. You fields of ghosts who walk these green plains still. Come, you giants!' When Jez Butterworth's Jerusalem premiered at the Royal Court Theatre, London, in 2009, it served notice of an astonishing development in the career of a writer whose debut, Mojo, had premiered on the same stage nearly fifteen years before. Unearthing the mythic roots of contemporary English life, and featuring Mark Rylance in an indelible central performance as Johnny 'Rooster' Byron, the play transferred to the West End and then to Broadway, before returning to the West End in 2011. 'Storming... restores one's faith in the power of theatre' Independent. 'Unarguably one of the best dramas of the twenty-first century' Guardian. Jerusalem was followed by the bewitching chamber play The River (Royal Court, 2012), a 'magnetically eerie, luminously beautiful psychodrama' Time Out. 'A delicately unfolding puzzle... all of it is wrapped in marvellous language... extraordinary' The Times. This volume concludes with the multi-award-winning The Ferryman (Royal Court and West End, 2017; Broadway, 2018), an excavation of lives shattered by violence, set in a farmhouse in Northern Ireland in 1981. 'A richly absorbing and emotionally abundant play... an instant classic' Independent. 'A magnificent play that uses, brilliantly, the vitality of live theatre to express the deadly legacy of violence' Financial Times. Also included here is the screenplay for the short film The Clear Road Ahead (2011), published here for the first time, and an edited transcript of a conversation between Butterworth and the playwright Simon Stephens.
Winner of the New York Drama Critics' Award for Best Foreign Play. "One of the most exciting new plays in ages."?The New York Times One of London and New York's most highly acclaimed plays of the season, Jez Butterworth's "wild, blissfully funny drug-and-booze-fueled comedy and tragedy" (The New York Times) is a rousing exploration of national identity, living on the margins, and the necessity of rebellion. Jez Butterworth won the 1995 Evening Standard Award for most promising playwright and was awarded the E.M. Forster Award from the American Academy of Arts and Letters in 2007. He also wrote and directed the film adaptations of Mojo (1998) and Birthday Girl (2002), and he co-wrote and produced Fair Game (2010).
On a moonless night in August when the sea trout are ready to run, a man brings his new girlfriend to the remote family cabin where he has come for the fly-fishing since he was a boy. But she's not the only woman he has brought here - or indeed the last. A bewitching story from the author of global smash hit Jerusalem, Jez Butterworth's play The River was first performed at the Royal Court Theatre, London, in October 2012.
Jez Butterworth is the most critically acclaimed and commercially successful new British dramatist of the 21st century: his acclaimed play Jerusalem has had extended runs in the West End and on Broadway. This book is the first to examine Butterworth's writings for stage and film and to identify how and why his work appeals so widely and profoundly. It examines the way that he weaves suspenseful stories of eccentric outsiders, whose adventures echo widespread contemporary social anxieties, and involve surprising expressions of both violence and generosity. This book reveals how Butterworth unearths the strange forms of wildness and defiance lurking in the depths and at the edges of England: where unpredictable outbursts of humour highlight the intensity of life, and characters discover links between their haunting past and the uncertainties of the present, to create a meaningful future. Supplemented by essays from James D. Balestrieri and Elisabeth Angel-Perez, this is a clear and detailed source of reference for a new generation of theatre audiences, practitioners and directors who wish to explore the work of this seminal dramatist.
Demolition expert Ned lives in a nice new house on a nice new estate on the edge of the English countryside. He loves his job. Barbecues. Car-boot sales. Fitness programmes. Outwardly his life is entirely unremarkable. Not unlike his friend and neighbour Dale. So why has he not slept a wink in six months? Why is he so terrified of his attractive wife Joy? And why is it every time he leaves on business, something else goes missing from his home? A blackly hilarious exploration of deceit, paranoia and murderous desire, as the spirit of the Blues lands in leafy suburbia.
Public Theatres and Theatre Publics presents sixteen focused investigations that connect theatre and performance studies with public sphere theory. The organizing critical lens of publics and publicness allows for the chapters to speak to one another other across time periods and geographies, inviting readers to think about how performing in public shapes and circulates concepts of identity, notions of taste or belonging, markers of class, and possibilities for political agency. Each essay presents a theorized case study that grapples with fundamental questions of how individuals perform in public contexts. The essays, written by a cross-section of prominent and emerging theatre and performance scholars, contribute new discussions and understandings of how theatre and performance work, as well as how publics, publicity, and modes of publicness have been constructed and contested over the last three centuries and in multiple national contexts including the US, Britain, France, Germany, Argentina and Egypt.
Acclaimed for his TV screenplays (Skins; This is England), as well as his original plays and adaptations (Let the Right One In), Jack Thorne is one of the most distinctive talents working in theatre today. This collection of Thorne's early plays, with a revealing introduction by the author, includes the following works:When You Cure Me; Stacy; 2nd May 1997; Bunny; Red Car, Blue Car; andMydidae.
"Ravenhill has more to say, and says it more refreshingly and wittily, than any other playwright of his generation" Time Out "There are few stage authors writing more interestingly than Mark Ravenhill ... He is - it is now yet more evident - a searing, intelligent, disturbing sociologist with a talent for satirical dialogue and a flair for sexual sensationalism." - Financial Times Shopping and Fucking: "is a darkly humorous play for today's twenty-somethings ... a real coup de theatre" - Nicholas de Jongh, Evening Standard Faust: "...an intelligent and witty reappropriation of the legend ... alive, pertinent and disturbing" - Michael Coveney, Observer Handbag: "...combines urban grit with sly wit, and reveals Mark Ravenhill as a writer of real daring" - Daily Telegraph Some Explicit Polaroids: "laudably ambitious, pulsates with energy ... very funny" - Financial Times
In recent years British theatre has seen a renaissance in playwriting that has been accompanied by a proliferation of writing awards, new writing groups and a ceaseless quest for fresh, authentic voices that will ensure the vitality and relevance of theatre in the twenty-first century. Rewriting the Nation is a perfect companion to Britain's burgeoning theatre writing scene that will prove invaluable to anyone wanting a better appreciation of why British theatre - at its best - remains one of the most celebrated and vigorous throughout the world. The books opens by defining what is meant by 'new writing' and providing a study of the system in which it is produced. It considers the work of the leading 'new writing' theatres, such as the Royal Court, the Traverse, the Bush, the Hampstead and the National theatres, together with the London fringe and the work of touring companies. In the second part, Sierz provides a fascinating survey of the main preoccupations and issues that have characterised new plays in the first decade of the twenty-first century. It argues that while under New Labour economic, political and social change continued apace, generating anxiety and uncertainty in the population, theatre has been able to articulate not only those anxieties and uncertainties but also to offer powerful images of the nation. At a time when the idea of a national identity is hotly debated, British theatre has made its own contribution to the debate by offering highly individual and distinctive visions of who we are and what we might want to become. In examining the work of many of the acclaimed and emerging British playwrights the book serves to provide a narrative of contemporary British playwriting. Just as their work has at times reflected disturbing truths about our national identity, Sierz shows how British playwrights are deeply involved in the project of rewriting the nation.
The most controversial and newsworthy plays of British theatre are a rash of rude, vicious and provocative pieces by a brat pack of twentysomethings whose debuts startled critics and audiences with their heady mix of sex, violence and street-poetry. In-Yer-Face Theatre is the first book to study this exciting outburst of creative self-expression by what in other contexts has been called Generation X, or Thatcher's Children, the 'yoof' who grew up during the last Conservative Government. The book argues that, for example, Trainspotting, Blasted, Mojo and Shopping and F**king are much more than a collection of shock tactics - taken together, they represent a consistent critique of modern life, one which focuses on the problem of violence, the crisis of masculinity and the futility of consumerism. The book contains extensive interviews with playwrights, including Sarah Kane (Blasted), Mark Ravenhill (Shopping and F**king), Philip Ridley (The Pitchfork Disney), Patrick Marber (Closer) and Martin McDonagh (The Beauty Queen of Leenane).
The Methuen Drama Guide to Contemporary British Playwrights is an authoritative guide to the work of twenty-five playwrights who have risen to prominence since the 1980s. Written by an international team of scholars, it will be invaluable to anyone interested in, studying or teaching contemporary drama. Among the many playwrights whose work is examined are Sarah Daniels, Terry Johnson, Martin Crimp, Sarah Kane, Anthony Neilson, Mark Ravenhill, Simon Stephens, Debbie Tucker Green, Tanika Gupta and Richard Bean. Each essay features: A biographical sketch and introduction to the playwright A discussion of their most important plays An analysis of their stylistic and thematic traits, the critical reception and their place in the discourses of British theatre A bibliography of texts and critical material
Closer emerged as one of the most successful plays of the 1990s, and one with a continuing afterlife through the academy award nominated film adaptation in 2004. Although the work of dramatists such as Sarah Kane and Mark Ravenhill initially attracted the most critical and academic attention, Patrick Marber's Closer had long West End and Broadway runs. The play has since gone on to repeat this success in over 30 other countries.