ALICE DE SOUSA
| Nationality: | n/a |
| Literary Agent: *: | n/a |
| Email: | n/a |
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Plays by Alice de Sousa
Cousin Basilio |
| 1st Produced: | Greenwich Playhouse, London | 2001 | ||
| Company: | Galleon Theatre Company | |||
| 1st Published: | - | - | ||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||
| Genre: | - | Adaptation | Parts: | Male | 6 | Female | 5 |
| Parts Other: | - | |||
Notes: novel by Eco De Queiros | ||||
Synopsis: | ||||
Crime Of The Old Village, The |
| 1st Produced: | Greenwich Playhouse, London | 2005 | ||
| Company: | Galleon Theatre Company | |||
| 1st Published: | - | - | ||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||
| Genre: | - | Translation | Parts: | Male | 4 | Female | 7 |
| Parts Other: | - | |||
Notes: Original Playwright - Bernardo Santareno | ||||
Synopsis: Tale of religious hysteria based on a true case of a girl who was burned as a witch by the women of her village in 1930's Portugal. - Lucy Powell, Time Out London | ||||
Heiress Of The Cane Fields, The |
| 1st Produced: | Greenwich Playhouse, London | 2005 | ||
| Company: | Galleon Theatre Company | |||
| 1st Published: | - | - | ||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||
| Genre: | - | Play/Drama | Parts: | Male | 8 | Female | 7 |
| Parts Other: | - | |||
Notes: adapted from book by Julio Dinis | ||||
Synopsis: paints a rich portrait of Portugese culture set alongside pertinent political commentary. The story traces the effects of 19th century industrial progress on a small, close-knit community in the heart of Portugal's idyllic countryside. | ||||
Ines De Castro |
| 1st Produced: | Greenwich Playhouse, London | 2003 | ||
| Company: | Galleon Theatre Company | |||
| 1st Published: | - | - | ||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||
| Genre: | - | Play/Drama | Parts: | Male | 7 | Female | 4 |
| Parts Other: | - | |||
Notes: - | ||||
Synopsis: | ||||
Maias Eca De Queiros, The |
| 1st Produced: | Greenwich Playhouse, London | 2002 | ||
| Company: | - | |||
| 1st Published: | - | - | ||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||
| Genre: | - | - | Parts: | Male | - | Female | - |
| Parts Other: | - | |||
Notes: - | ||||
Synopsis: | ||||
Thankfully There Is Moonlight! |
| 1st Produced: | Greenwich Playhouse, London | 2007 | ||
| Company: | Galleon Theatre Company | |||
| 1st Published: | - | - | ||
| To Buy This Play: | I don't think the play has been published but you could try abebooks.com or the playwright direct where their email is shown at the top of the page | |||
| Genre: | - | Adaptation | Parts: | Male | 10 | Female | 2 |
| Parts Other: | - | |||
Notes: Original Playwright - Sttau Monteiro. Written in 1961, it wasnt produced until 1978, and this is its translation world premiere | ||||
Synopsis: Like Arthur Miller's 'The Crucible', this uses a historical setting to attack the political evils of the day. Here, it's war-torn 19th-century Portugal - a place 'of petty conspiracies and betrayals, where you will only find an ally when you have found a common enemy'. With the threat of revolution growing, the authorities decide to arrest and execute the far-too-popular General Gomes Freire de Andrade. Its a powerful play, written out of anger and despair, but its power is largely rhetorical. The peasants eloquently bemoan their fate, the leaders of church and state denounce the rebels, and, in the second half the Generals wife a heartfelt Alice De Sousa shows the personal side of the tragedy. Jonathan Gibbs, Time Out, London | ||||