Critical Reception of Irish Plays in the London Theatre, 1925-1996. In December 1921 the Anglo-Irish Treaty was signed, which led to the creation of the Irish Free State and the partition of Ireland the following year. The consequences of that attempt to reconcile the conflicting demands of republicans and unionists alike have dictated the course of Anglo-Irish relations ever since. This book explores how the reception of Irish plays staged in theatres in London's West End serves as a barometer not only of the state of relations between Great Britain and Ireland, but also of the health of the British and Irish theatres respectively. For each of the eight decades following Irish Independence a representative production is set in the context of Anglo-Irish relations in the period and developments in the theatre of the day. The first-night criticism of each production is analysed in the light of its political and artistic context as well as the editorial policy of the publication for which a given critic is writing. The author argues that the relationship between context and criticism is not simply one of cause and effect but, rather, the result of the interplay of a number of cultural, historical, political, artistic and personal factors.

Maureen Hughes reveals why "all the world's a stage" in this journey through the world of plays and playwrights from the beginning of time through the Tragedies to West end and Broadway triumphs.

CANDLEDANCING examines the synthesis of humanity's physical, mental, and spiritual dimensions by weaving together the thoughts and feelings of its characters who seek to understand life. A street urchin inexplicably shows up at the dilapidating East Abbey with money that can saves this sacred landmark from demolition. Will's melodious voice is oddly prompted by the flickering flame of a perpetual light in the chapel. Father Peter Andrews, the choir director, learns that his words belong to Julian of Norwich, a Medieval anchorage, who comes to fulfill a divine appointment. Forced to focus on proper appearances and public opinion, church officials call in Father Peter for an inquest because without permission, Father Peter began an investigation at the university in efforts to uncover Will's link to the divine. Regardless of innocent intentions, scandal is created by the media and he is subject to reprimand by Cardinal Roland. In the end, truth prevails as new light is shed on the human condition as the voice comes through the choirboy, and makes its decree, "When you ask God to be your dance partner, the music never stops!"

A cast of four dressed as cabin crew yet playing everyone from pilots to passengers, baggage handlers to even bits of the Airbus A320 in this adult comedy set aboard a charter flight to Portugal. This award winning play has had professional runs at over sixty UK theatres since 2004 along with numerous amateur dramatic productions and has been used in schools to demonstrate how the 'Brechtian' theatre style can be fun. The audience are as much of the play as the plot and many productions invite them to come dressed as pilots, sexy cabin crew and holidaymakers. The play was written to account for a minimal set but maximum ability of the cast, who switch constantly between roles and often crossing genders. A high energy often near the knuckle play requiring excellent comedy and characterisation skills by all involved. The cast is joined by a narrator who can be played by a fifth member or integrated into the cast of four with ease.

stories from the London International Festival of Theatre, available from Central Books (click on cover)

Theatre as pedagogy in religous stidies

A History of Insane Incidents and Absurd Accidents in the Theater