The demon Azzie Elbub commissions a play in which the seven deadly sins will be shown as the path to a fine life. But the angel Babriel gets wind of the scheme and sets in motion a counter-campaign. A comic fantasy.

The latest collaborative comic fantasy from two masters of the field stars demon extraordinaire, Azzie Elbub, who wants to use his Evil Deed bonus to commission a play in which the Seven Deadly Sins are shown to be the true path to a fine life. But the angel Babriel has gotten wind of it and sets in motion a duel of hilarious proportions.

This contemporary tragi-comedy written and directed by Pieter-Dirk Uys is built wildly and loosely on Shakespeare's Macbeth, and tells the story of the rise and fall of MacBeki, a talented and gifted leader who is corrupted by the silver tongues of three witches, an over-reaching wife and a crown that seems there for the taking ... Other characters include recognizable but entirely fictional finance ministers, first democratic presidents, ministers of defence, police and health and a range of various other failed ministries.

Evita Bezuidenhout, still regarded as the most famous white woman in South Africa, was born Evangelie Poggenpoel of humble Boer origins in the dusty Orange Free State town of Bethlehem on 28 September 1935. Illegitimate, imaginative, pretty and ambitious, she dreamt of Hollywood fame and fortune, tasting stardom in such 50s Afrikaner film classics as 'Boggel en die Akkedis' (Hunchback and the Lizard), 'Meisie van my Drome' (Girl of my Dreams) and 'Duiwelsvallei' (Devil's Valley). She married into the political Bezuidenhout Dynasty and became the demure wife of NP Member of Parliament Dr J.J. De V. Bezuidenhout and the proud mother of De Kock, Izan and Billie-Jeanne. Power became her addiction. She wielded it in the boardroom, the kitchen and round the dinner table, becoming confidante to the flawed gods on the Boer Olympus and so shaping the course of history with her close and often unbelievable relationships with the grim-faced leaders of the day: Dr H.F. Verwoerd, B.J. Vorster, P.W. Botha and F.W. de Klerk. Hand in hand with the glamorous Evita of Pretoria was the Tallyrand of Africa, Pik Botha, her ageing Romeo and constant friend, while watching her from afar as she watched him, Nelson R. Mandela, alive today thanks to her timely interventions. Satirical, provocative, radical and humorous, A Part Hate A Part Love will have you rolling on the floor one minute and weeping the next.

Over Britain’s first century of mass democracy, politics has lurched from crisis to crisis. How does this history of political agony illuminate our current age of upheaval? To find out, journalist Phil Tinline takes us back to two past eras when the ruling consensus broke down, and the future filled with ominous possibilities – until, finally, a new settlement was born. How did the Great Depression’s spectres of fascism, bombing and mass unemployment force politicians to think the unthinkable, and pave the way to post-war Britain? How was Thatcher’s road to victory made possible by a decade of nightmares: of hyperinflation, military coups and communist dictatorship? And why, since the Crash in 2008, have new political threats and divisions forced us to change course once again? Tinline brings to life those times, past and present, when the great compromise holding democracy together has come apart; when the political class has been forced to make a choice of nightmares. This lively, original account of panic and chaos reveals how apparent catastrophes can clear the path to a new era. The Death of Consensus will make you see British democracy differently.

This revised edition of Clarke, Dean and Oliver's provocative book tells why accounting has failed to deliver the truth about a company's state of affairs or to give warning of its drift towards failure. A number of well-known cases of corporate collapse from the 1960s to the 1990s and beyond are studied and the recent HIH and One.Tel collapses are examined. Corporate Collapse is essential reading for professional accountants and auditors, company directors and managers, regulators, corporate lawyers, investors and everyone aspiring to join their ranks.

Varied characters, including Dr. Johann Faust, are caught up in the contest between the forces of Good and Evil for control of the universe.

Allusions to Shakespeare haunt our contemporary culture in a myriad of ways, whether through brief references or sustained intertextual engagements. Shakespeare’s plays and motifs have been appropriated in fragmentary forms onstage and onscreen since motion pictures were invented in 1893. This collection of essays extends beyond a US-UK axis to bring together an international group of scholars to explore Shakespearean appropriations in unexpected contexts in lesser-known films and television shows in India, Brazil, Russia, France, Australia, South Africa, East-Central Europe and Italy, with reference to some filmed stage works.