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Meet Jess and Joe. They want to tell you their story. Joe is Norfolk born and bred and wears wellies. Jess holidays there with her au pair and is slightly too tubby for her summer dresses. They are miles apart even when they stand next to each other. This is a story of growing up, fitting in (or not), boys, girls, secrets, scotch eggs and maybe even love, but most of all, it's about friendship. Spanning several summer holidays, Jess and Joe Forever is an unusual coming of age tale that explores rural life and what it means to belong somewhere, if you can really belong anywhere. A layered and thoughtful play about finding your place in the world when you only know a small corner of it. This edition was published to coincide with House Theatre's production at the Traverse Theatre, Edinburgh in 2017.
Meet Jess and Joe. They want to tell you their story. Joe is Norfolk born and bred and wears wellies. Jess holidays there with her au pair and is slightly too tubby for her summer dresses. They are miles apart even when they stand next to each other. This is a story of growing up, fitting in (or not), boys, girls, secrets, scotch eggs, and maybe even love, but most of all, it's about friendship. Spanning several summer holidays, 'Jess and Joe Forever' is an unusual coming of age tale that explores rural life and what it means to belong somewhere, if you can really belong anywhere.
Theatre has a complex history of responding to crises, long before they happen. Through stage plays, contemporary challenges can be presented, explored and even foreshadowed in ways that help audiences understand the world around them. Since the theatre of the Greeks, audiences have turned to live theatre in order to find answers in uncertain political, social and economic times, and through this unique collection questions about This anthology brings together a collection of 20 scenes from 20 playwrights that each respond to the world in crisis. Twenty of the world's most prolific playwrights were asked to select one scene from across their published work that speaks to the current world situation in 2020. As COVID-19 continues to challenge every aspect of global life, contemporary theatre has long predicted a world on the edge. Through these 20 scenes from plays spanning from 1980 to 2020, we see how theatre and art has the capacity to respond, comment on and grapple with global challenges that in turn speak to the current time in which we are living. Each scene, chosen by the writer, is prefaced by an interview in which they discuss their process, their reason for selection and how their work reflects both the past and the present. From the political plays of Lucy Prebble and James Graham to the polemics of Philip Ridley and Tim Crouch. From bold works by Inua Ellams, Morgan Lloyd Malcom and Tanika Gupta to the social relevance of Hannah Khalil, Zoe Cooper and Simon Stephens this anthology looks at theatre in the present and asks the question: “how can theatre respond to a world in crisis?” The collection is prefaced by an introduction from Edward Bond, one of contemporary theatre's most prolific dramatists.
Don't know where I stand with the weatherman these days. One day it's all warm and breezy and the next old Jack Frost comes to take the skin off your back. A twelve year old Romanian girl is trafficked into London. Her captor, a city landlord known as Dollar, entrusts her to the care of his tenants O'Rourke and Beezer; a pair of down-and-out bachelors sharing lodgings in the East End. But with no reliable details of the girl's past, vague speculation as to the reason for her arrival and no common language with which to communicate, for how long and at what price can the involvement of her new guardians be bought? Eugene O'Hare's debut black comedy shines a light on complicity, power and the secrets and lies woven behind closed doors and examines the no go lines that are crossed when it's too dangerous to run away.
Under the interpretive gaze, Chappell's stories reveal a dazzling range, and all of his work shows a concern with the relationship between the spiritual and material in people's lives, the moral development of the human race, and the flawed, enigmatic, and yet enlightening interaction between men and women."--Jacket.
A Wall Street Journal national security reporter takes readers into the lives of frontline U.S. special operations troops fighting to keep the Taliban and Islamic State from overthrowing the U.S.-backed government in the final years of the war in Afghanistan. A FINANCIAL TIMES BEST BOOK OF THE YEAR “Powerful, important, and searing." —General David Petraeus, U.S. Army (ret.), former commander, U.S. Central Command, former CIA director In 2015, the White House claimed triumphantly that “the longest war in American history” was over. But for some, it was just the beginning of a new war, fought by Special Operations Forces, with limited resources, little governmental oversight, and contradictory orders. With big picture insight and on-the-ground grit, Jessica Donati shares the stories of the impossible choices these soldiers must make. After the fall of a major city to the Taliban that year, Hutch, a battle-worn Green Beret on his fifth combat tour was ordered on a secret mission to recapture it and inadvertently called in an airstrike on a Doctors Without Borders hospital, killing dozens. Caleb stepped on a bomb during a mission in notorious Sangin. Andy was trapped with his team during a raid with a crashed Black Hawk and no air support. Through successive policy directives under the Obama and Trump administrations, America came to rely almost entirely on US Special Forces, and without a long-term plan, failed to stabilize Afghanistan, undermining US interests both at home and abroad. Eagle Down is a riveting account of the heroism, sacrifice, and tragedy experienced by those that fought America’s longest war.
Wonderfully funny and also deeply touching, I Am One of You Forever is the story of a young boy's coming of age. Set in the hills and hollows of western North Carolina in the years around World War II, it tells of ten-year-old Jess and his family -- father, mother, grandmother, foster brother, and an odd assortment of other relatives -- who usher Jess into the adult world, with all its attendant joys and sorrows, knowledge and mystery. Jess's father is feisty, restless, and fun-loving. His mother is straitlaced and serious but accepts with grace and good humor the antics of the men of the family, a trait she learned from her own mother. Johnson Gibbs is the orphaned teenager who comes to live with them on their mountain farm. Life on the laurel-covered mountain is isolated and at times difficult, but for Jess it is made rich and remarkable through his relationship with his father and, especially, Johnson Gibbs. Visiting the farm from time to time is a gallery of eccentric relatives who are surely among the most memorable creations in recent fiction. Uncle Luden is a womanizer who left the mountains years ago for a job in California that "paid actual cash money." Uncle Gurton has a spooky way of appearing and disappearing without ever seeming to enter or exit, but it is his flowing beard, which he has apparently never trimmed and which he keeps tucked inside his overalls, that is of most fascination to Jess. Uncle Zeno is a storyteller. With the words "That puts me in mind of..." everyone around knows that he is about to launch into another of his endless tales. Uncle Runkin, who always brings his handmade coffin to sleep in whenever he visits, spends his time carving intricate designs into the coffin and trying to find just the right epitaph for his tombstone. Aunt Samantha Barefoot stops by for a brief spell, too. A country singer and cousin to Jess's grandmother, she is a woman of uncensored speech (Jess learns a lot from her) and honest emotions. Chappell tells the story of all of these characters in a series of chapters that range from fantasy and near farce to pathos. As notable for its lyrical descriptions of the rural settings as for its finely honed vernacular dialogue, I Am One of You Forever shows us a world full of wit and wisdom and the sadness at the heart of things. As one would expect from a poet like Fred Chappell, every line offers its own pleasures and satisfactions.
The last time Jess saw her father, she was a boy. Now she’s a high school graduate, soon to be on her way to art school. But first she has some unfinished business with her dad. So she’s driving halfway across the country to his wedding. He happens to be marrying her mom’s ex-best friend. It’s not like Jess wasn’t invited; she was. She just never told anyone she was coming. Surprise! Luckily, Jess isn’t making this trip alone. Her best friend, Christophe—nicknamed Chunk—is joining her. Along the way, Jess and Chunk learn a few things about themselves—and each other—which call their feelings about their relationship into question.
Yee-hah! Ride 'em out, with cowboy-in-training Jess Ford as he roams the frontiers of the old Wild West in search of adventure. Foiling the plans of horse rustlers, taking on stagecoach bandits, and saving the life of wild and unpredictable mare, Destiny. It's all in a day's work for Cowboy Jess.
Nativities is a darkly comic new play set in the wasteland of petty office politics, designated smoking areas and personal alienation. Excited about her new job as administrative assistant at a call centre, Stella is eager to fit in with her workmates and they seem to like her too, especially when they find out how much they all have in common. It's really like a family at Scion Communications so when they discover that Stella is pregnant they're all delighted for her. However, as her pregnancy progresses, their certainties about love, relationships and parenthood are questioned and their lives both at work and at home begin to unravel. Set somewhere between an Orwellian dystopian vision and an all too familiar contemporary reality, Cooper's writing turns a lens on everyday office life and how personalities are warped in its liminal space. Within the repeating motifs of the anonymity of the corporate existence, recurrent unvaried routines and ominously authoritative performance targets, the core of the play focuses on the sheer isolation and loneliness of the characters. The dialogue is overlapping, misunderstood and disconnected, and the characters are unable to communicate in spite of spending the majority of their waking lives together. This kaleidoscopic dialogue and the slippery, shifting ground between the characters effectively creates a new language for the stage which is startlingly original. This is writing which is innovative, relevant, chilling and blackly funny.