London will do for you for now... And I will do for London.

London, 1956. Newly arrived from Trinidad, Henry 'Sir Galahad' Oliver is impatient to start his new life. Carrying just pyjamas and a toothbrush, he bursts through Moses Aloetta's door only to find Moses and his friends already deflated by city life. Will the London fog dampen Galahad's dreams? Or will these Lonely Londoners make a home in a city that sees them as a threat?

In the first stage adaptation of Sam Selvon's iconic novel about the Windrush Generation, Roy Williams sweeps us back in time to shine a new light on London, friendship, and what we call home.

This edition of The Lonely Londoners is published to coincide with the world premiere at London's Jermyn Street Theatre in February 2024 and the subsequent production at The Kiln Theatre in January 2025.

Compiled together for the first time, here are three plays by Argentine novelist and playwright Manual Puig: the well-known Kiss of the Spider Woman, a sharply provocative tale of love, victimization, and fantasy, and of the friendship that develops between two strikingly different men imprisoned together in a Latin American jail; Puig's first drama written directly for the stage, Under a Mantle of Stars, a recurring dream that is never ending; and Mystery of the Rose Bouquet, an astute tale of deep compassion and illusion. These eminently readable plays highlight all the gifts that make Puig's fiction so remarkable. This is convincing proof that Manual Puig was one of our most talented writers - no matter what the medium. Puig is the author of seven novels, translated into fourteen languages.

Once upon a time in a fishing village along the Amazon there lived two sisters struggling to find their happily ever after. Helena is dreading her sister Belmira's wedding. The groom Duarte should have been hers. And she knows that her sister only wants to escape their sleepy Brazilian town for an exciting new life in the city. But three days before the wedding fishermen pull a mysterious stranger out of the river - a man with no past who offers both sisters an alluring possibly dangerous future. Brazilian folklore and lyric storytelling blend into a heartrending tale of true love regret transformation and the struggle to stay true to your family while staying true to yourself.

An incredibly original and affecting night at the theater... nuanced and well-crafted and peppered with poetic lyricism. - Houston Press

A haunting and beautifully constructed theatrical experience... A work of striking originality... Orta has a wonderful ear for dialogue and paints complex characters that we care about and has come up with a modern fable set deep in the heart of the Amazon. - The Siskiyou Daily News

A bittersweet dream of love... It's a simple tale well told that invites the viewer to ponder the mysteries of romance. Are there such things as true love as soulmates as fate? And where does human choice fit into the equation? - - AZ Central

A story of folklore love resentment and regret... as delightfully entertaining as it fascinating. - Latin Life Denver

La muerte y la doncella, la obra latinoamericana mas representada en la historia del mundo, ha llegado a constituirse en un clasico sobre la justicia y el perdon, la memoria y el olvido. Dorfman se ha propuesto a explorar preguntas pocas veces hechas en voz alta: Como pueden los represores y los oprimidos cohabitar una misma tierra, compartir una misma mesa? preguntas que hoy dîa siguen tan vigentes como cuando Dorfman escribia esta obra.

Les Veuves cr oles is the first play known to have been composed in Martinique. This three-act prose comedy was published anonymously in Paris in 1768 and was performed at least twice in the capital of Caribbean theatre, Saint-Domingue (now Haiti) during the colonial period. Set in colonial Martinique in the port town of Saint-Pierre, Les Veuves cr oles represents an early example of cr ole francophone drama. Three cr ole widows are courted by the grasping and dishonest Fatincourt who, after six years on the island, is keen to marry in order to repay his debts and return to France. The two older widows run successful businesses - a fact that, for Fatincourt, renders them eligible despite their advanced years. The third widow is younger but is portrayed as foolish for believing herself superior to other cr oles thanks to a short visit she has made to France. The older widows eventually unite in order to thwart Fatincourt, and it is metropolitan France that emerges as the principal source of wrong-doing in this lively play. Contemporary reviewers in the Parisian press were uncertain how to respond to the play's cr ole slant, but acknowledged its comic and theatrical merits. It is hoped that both elements will be of interest today.

Creole Cinema: Memory Traces is the first book written in English on Francophone Caribbean cinema. It establishes a postcolonial, Caribbean, and fundamentally Creole theoretical framework for the interpretation of works which the author defines as Creole cinema, through the lens of Patrick Chamoiseau's concept of the Trace-mémoire. In so doing, it examines the remarkable multisensory forms of memory expression performed by Creole cinema, drawing on work on intercultural cinema and haptic visuality by Laura Marks, and on Hamid Naficy's insights into accented cinema. Initially undertaking a general survey which provides the most comprehensive account of Francophone Caribbean cinema to date, the critical framework is then developed in a series of case-studies which analyse Biguine (2004) directed by Guy Deslauriers with a screenplay by Chamoiseau; Nord-Plage (2004) directed by José Hayot, again with Chamoiseau as author of the screenplay; Rue Cases-Nègres (1983, Sugar Cane Alley) directed by Euzhan Palcy; and Nèg maron (2005) directed by Jean-Claude Barny. Each case study establishes how the Trace-mémoire manifests in a complex haptic multisensory set of dynamics which can be discerned both in individual works and across a wider range of films considered, in order to access and retrieve - here with a particular emphasis on processes of creative intuition - subaltern and marginalised memories and histories. The study works in a consistently interdisciplinary manner across areas including Francophone Studies, Film Studies, Postcolonial Studies, World Cinema, and Black Studies, and represents a timely intervention on urgent debates around black representation in cinema.

USHUAIA BLUE. a play by Caridad Svich. Jordan is a marine biologist. Sara works in bio-acoustics and film. They have been traveling to do research in Antarctica for some time now. On a recent trip, Sara connects with Pepa, who is native to Ushuaia, Argentina, at the southernmost tip of the world. This connection begins to affect how Sara sees the world and how she begins to hear the music of the ice. As Jordan and Sara's relationship as a couple becomes more fragile, Sara suffers an accident. In the land of spirit dreaming, suffering, and awakening, lessons are learned about life and climate change. A love story set against the backdrop of the climate emergency. Inspired by interviews conducted by the author with polar marine biologist James McClintock. This play premiered at the 2022 Contemporary American Theatre Festival. This is a Santa Catalina Edition.

LA CUARTERONA, del dramaturgo puertorrique o Alejandro Tapia y Rivera, presenta el resultado fatal del prejuicio racial, la inmoralidad del clasismo y la superficialidad social. Aunque se ambienta en el siglo XIX, su universalidad tem tica la hace un cl sico de la literatura y la hace tan pertinente como cuando se escribi . Un joven idealista de clase privilegiada se enamora de una cuarterona, una joven con un cuarto de sangre africana, a quien conoce desde ni a. Por conservar su t tulo de nobleza, la madre del joven lo obliga a casarse con la hija de un arribista adinerado que la salve de la ruina econ mica. Al sacrificarse el hijo, accediendo al matrimonio de conveniencia, se desata la m s angustia tragedia y se hacen revelaciones de ir nica crueldad.. Esta edici n del doctor Delgado-Figueroa incluye su ensayo sociol gico sobre el racismo en la Am rica hispana y, en espec fico, en el Puerto Rico contempor neo, a la vez que eval a el lugar de LA CUARTERONA en la literaria esclavista hispanoamericana. Las anotaciones ayudan al lector a comprender el contexto cultural e hist rico en que se desenvuelve la obra.

The Long Song is the story of a young slave girl who lives through the final turbulent days of slavery on a sugar plantation in 19th-century Jamaica.

It is adapted from Andrea Levy's award-winning novel by Suhayla El-Bushra, and premiered at Chichester Festival Theatre in October 2021, directed by Charlotte Gwinner.

One Book, Two Plays
The Fight for Belle Vue
Brothers Tonne and Kosh, are battling over their family estate at Belle Vue. Kosh wants to sell to Henri Laroche,
an American investor, but Tonne insists that their ancestral land should be handed down to succeeding generations and refuses to succumb to pressure from Kosh and his family. When he turns to the K l traditions of his ancestors and his daughter, Sandra, for help, the fi ght for Belle Vue evolves from a struggle for land into a battle of art, love, religion, politics, and power.
The Field of Power
Captivated by the lure of modern society, Eva strikes out from her poverty-stricken village of Derri re Morne in
search of her fortune, leaving her boyfriend, Mawon, behind. To escape, Eva must face the Ladjabl s, who holds the key to the Secret Gate. While Eva tries to resist the Ladjabl s, the Soucouyant, partner of Ladjabl s, works to mesmerize Mawon. Thus Eva and Mawon become drawn into a fierce battle for their bodies and souls in which they must access the field of power.

The Spanish language edition of the 2003 Pulitzer Prize Winner for Drama

Isadora finds the strength to stand up to her abusive husband Septimo when he forces the very pregnant Yolot to stay against her will. While Septimo makes plans for the baby Isadora and Yolot devise one of their own. And as a pack of wolves closes in on the hacienda Isadora must decide what price she'll pay for her own freedom. Wolf at the Door is part of a cycle of fairy tales Marisela Treviño Orta is writing inspired by Latino folklore and mythology.

A beautifully told Mesoamerican fairy tale... a story of self-deliverance and empowerment of those who survive. - Theater Jones

Absorbing... Wolf at the Door tells a magical story in a straightforward way evoking the harsh realities of life with brutal honesty. - NJArts

Racked with pain... Marisela Trevino Orta... has fashioned a message drama around a more ethereal reverie about the afterlife nature and the definition of evil. - Dallas Voice

A magical tale of those who are subject to tyrannical rule seeking freedom through the bond they have as women and as heirs to the wildness of nature. Wolf at the Door takes us through the darkness of the soul and offers us hope. - The Column Online

This riveting and resonant fairy tale is definitely for grownups... Orta's script develops the characters well beyond fairy tale tropes... they become fully fleshed-out beings with backstories that matter. Particularly resounding is the theme of women banding together against a man who's kept them down. - The Oregonian

On this sliver of a paradise in the Eastern Caribbean, four young friends find themselves caught up in a struggle for their very survival. Their friend and mentor has been killed, and another one of their friends is on the run from the police. Can they trust the snooping reporter mining for a scoop? Is that all he wants? And what about the detective who comes offering gifts for information? What is the price for loyalty? On the Block takes us into the lives of these four teenagers working through issues of trust and the pain of emotional and physical abuse to harness the insecurities which challenge their development into adulthood. Despite the chaos around them, they use their wits and their intelligence to navigate dark waters, while forging deeper bonds of love and friendship.

Público, respetable público! El espectáculo va a comenzar.
Qué disparates digo?
Discúlpenme amigos lectores. Me he confundido, pensé que se trataba de la presentación de una obra de títeres. Ahora me doy cuenta, sólo voy a presentar un libro de mi inseparable amigo y titiritero Carlos Enrique Aguirre Fulcado.
Por cierto, que olvidadizo soy, no me había presentado antes. Yo soy Leoncio, un títere de guante que manipula Carlos desde 1969, año en el que debutó como titiritero, fue el mismo día de la primera actuación del grupo fundado por Laura Antillano Armas y Luz Marina Gutiérrez, me refiero al Teatro Universitario de Títeres Chímpete Chámpata, de la Dirección de Cultura de La Universidad del Zulia. Desde entonces, Carlos, Chímpete Chámpata y quien les narra, somos parte de la historia de los títeres de Maracaibo.
TÍTERES DEL TÍO CARLOS es un libro en el que se explican las principales técnicas para la elaboración de títeres y marionetas. Dichas explicaciones se amplían gráficamente mediante ilustraciones y dibujos elaborados por Carlos, Larry Peña Olivar y por el destacado caricaturista Nerio Borges Bracho, a quien Carlos le agradece con mucha alegría por su entusiasmo y aporte creativo en la concepción de los dibujos.
Intercalados con las instrucciones para la elaboración de los muñecos, el libro incluye guiones y cuentos para títeres, los cuales cumplen una doble función, por una parte amenizan la lectura y, por la otra, estimulan la imaginación del lector para que se atreva a inventar relatos titiritescos. El Tío Carlos estará feliz si con esto logra que al menos una vez, amigos lectores, cada uno de Ustedes creara su propia obra de títeres.
Colorín Colorado, yo he terminado pero los TÍTERES DEL TÍO CARLOS han comenzado.

Leoncio.
Títere

Blanco Temblor es un drama puertorriqueño de Carola García López sobre la vida y la muerte, sobre este mundo y otros posibles, sobre la lucidez y la locura. A medio camino entre el testimonio y la auto-ficción, este texto escénico aborda sin regodeos un tema poco explorado en las letras puertorriqueñas: la salud mental y el sistema fármaco-hospitalario como forma disciplinaria del poder. Asimismo, afirma las tretas de la imaginación y el arte en medio de la desolación. Cuando cae el telón, hay vida por delante.

Con Blanco Temblor, Editora Educación Emergente enriquece su serie Otra escena, a la vez que continúa su celebración de quince años liberando tu lectura.

A haunting and theatrical one-woman play The Way She Spoke travels from a New York stage to the treacherous streets of Juárez Mexico where thousands of women have been murdered in an epidemic of violence that has yet to stop. Written by Isaac Gómez based on his intimate interviews the play is a raw and riveting exploration of responsibility: one playwright's journey to give voice to a city of women silenced by violence fear and a world that has turned a deaf ear to their stories.

An act of bearing witness... an aching outraged work of vigil protest and inquiry. - The New York Times

Isaac Gomez has drawn from interviews with real women to expose just how terrifying life in Juárez has become. It is riveting theater... Gomez's script is a brilliant tragic book of the dead. - New York Theatre Guide

At first the terrific solo show The Way She Spoke seems simple... Gomez's play picks its way carefully among genres: It's half memoir half fiction half documentary half memorial. That's too many halves-there's too much play here. But that's because there is no appropriate response other than surfeit of anguish of pity of rage. - TimeOut NY

Winner of the London Hellenic Prize 2020

The Greek Trilogy of Luis Alfaro gathers together for the first time the three 'Greek' plays of the MacArthur Genius Award-winning Chicanx playwright and performance artist.

Based respectively on Sophocles' Electra and Oedipus, and Euripides' Medea, Alfaro's Electricidad, Oedipus El Rey, and Mojada transplant ancient themes and problems into the 21st century streets of Los Angeles and New York, in order to give voice to the concerns of the Chicanx and wider Latinx communities.

From performances around the world including sold-out runs at New York's Public Theater, these texts are extremely important to those studying classical reception, Greek theatre and Chicanx writers. This unique anthology features definitive editions of all three plays alongside a comprehensive introduction which provides a critical overview of Luis Alfaro's work, accentuating not only the unique nature of these three 'urban' adaptations of ancient Greek tragedy but also the manner in which they address present-day Chicanx and Latinx socio-political realities across the United States.

A brief introduction to each play and its overall themes precedes the text of the drama. The anthology concludes with exclusive supplementary material aimed at enhancing understanding of Alfaro's plays: a 'Performance History' timeline outlining the performance history of the plays; an alphabetical 'Glossary' explaining the most common terms in Spanish and Spanglish appearing in each play; and a 'Further Reading' list providing primary and secondary bibliography for each play.

The anthology is completed by a new interview with Alfaro which addresses key topics such as Alfaro's engagement with ancient Greek drama and his work with Chicanx communities across the United States, thus providing a critical contextualisation of these critically-acclaimed plays.

EL EXILIO NO SIEMPRE ES FÍSICO. En esta saga de amor, coraje y quebrantamiento, el autor reflexiona sobre el viaje de una familia repentinamente empobrecida que lucha por sobrevivir la migración a una fría e indiferente capital del tercer mundo. Sus miembros, tratan desesperadamente de mantener el cuerpo y el alma juntos, mientras son destrozados por sus exilios internos: una mujer que tiene un hijo tras otro en silenciosa sumisión a la tradición. Niños desconcertados y desapegados por la agitación constante. La vida secreta de un padre y su amargo ostracismo que lo convierte en un extraño solitario bajo el techo familiar. En Flores para María Sucel, el amor es una cosa frágil pero duradera que florece cuando menos se espera.

Griselda Gambaro is arguably one of Argentina's most important dramatists, as well as a playwright of international significance, whose poetics not only interpret Argentine reality but transcend cultural and geographical borders. Despite international recognition, her plays remain little performed in the UK, an absence which makes this anthology of new translations a welcome contribution to British theatre culture, and to the English-speaking stage.

Prolific since the 1960s, Gambaro's plays are radical, subversive, and endlessly inventive in the use of form and theatricality. This is a theatre of resistance which has the potential to make searing comments on our own domestic and political contexts, an experience which may not be comfortable but is always vital. Dazzling, original, incisive and poetic, this anthology shows Griselda Gambaro at the height of her creative powers.

Siamese Twins (1967)
In this charged and forceful play, two brothers (one weak, one strong) play out a primal scene of envy, cruelty and torture as one exerts his power and aggression over the other.

Mother by Trade (1999)
In a stark process of truth and reconciliation, a daughter meets her estranged mother forty years after she abandoned her as an infant.

As the Dream Dictates (2002)
How can we look to the future if there is great trauma in our past? In this play, only the untethered thinking that comes with dreaming allows us the freedom to imagine.

Asking Too Much (2004)
In this enigmatic two-hander, the roles played by a man and a woman in the game of human attachment are renegotiated.

Persistence (2007)
Inspired by the real life event of the 2004 Beslan massacre in Russia, Persistence is a poetic play which goes to the heart of human tragedy.

Dear Ibsen, I Am Nora (2013)
Nora, the character created by Henrik Ibsen in A Doll's House, decides to confront her creator and to debate with him her own words and actions.

The Gift (2015)
Márgara is a woman with the gift of prophecy... but people do not believe her, even though she predicts hope for the world. Will humanity be able to hear her?

In Moon-Child, the poet and playwright Derek Walcott returns to the island of St. Lucia for a lush and vivid tale of spirituality and the supernatural. In this lyrical new work, the crafty Planter (who may or may not be the Devil in disguise) schemes to take over the island for development. Between him and his goal lies the Bouton family, whose ailing matriarch strikes a bargain: if any of her three sons can get the Devil to feel anger and human weakness, the islanders will win the right to spend the rest of their days in wealth and peace.

In a fable that reaches from St. Lucia's verdant forests to an explosive ending amid its plantation homes, Walcott has crafted a masterwork rich in flowing language and colorful Creole patois. With roots in Caribbean folklore and an eye toward the island's postcolonial legacy and complex racial identities, Moon-Child marks a remarkable new addition to the canon of one of the world's most prolific Caribbean playwrights.