When Githa Sowerbys first play, Rutherford & Son, made its debut in Londons West End in 1912, critics hailed her as a talent to compare with Ibsen. At a time when women were commonly believed to be put on this earth to bear children and run the home, she broke the mould. And yet within her own lifetime this unique Tyneside playwright  the grand-daughter of the founder of Gatesheads world-famous Sowerbys Ellison Glass Works  faded from public view. Published to coincide with the first ever Tyneside production of Rutherford & Son, this long overdue biography is the first ever to examine Githa Sowerbys life and works.

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.

Five new plays: The meek / berk / interfaces / belongings / the look. "Chambers view of the decay of modern society is brilliantly expressed through alternately stylised and naturalistic language with plenty of sex and humour intermingled" The Independent

It's a complete playwriting course in a book, organized in easy to follow lessons and filled with practical writing exercises. It is ideal for drama classes, for teachers wanting a teaching resource for their playwriting lessons, for students who don't have drama courses in which to learn playwriting--for anyone of any age who wants detailed, practical playwriting instruction that will get you writing!

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

If you can't live, write; if you can't write, be a publisher; if you can't be a publisher, be a literary agent; and if you can't be a literary agent, God help you.' Colin Haycraft. It's just another day at the office for a high-flying literary agent Alexander. Phone calls to be returned, deals to be finalised, celebrity clients to be taken out to lunch. . . and just one quick meeting to get through with an author whose latest book the agent thinks is, frankly, not up to scratch. Martin Wagner's gripping and often bitingly funny two-hander about a writer's struggle for good representation perfectly reveals the subtle shifts in power in the relationship between artist and agent. As every minute passes and the tables continue to turn, the only thing we can be sure of is that there can only be one winner.