“An exhilarating, fascinating and eye-opening journey with two of our most inspirational creatives. A must-read for anyone interested in the crafts of acting and writing or considering a career as a self-employed artist. Lolita and Adrian don't shy away from documenting the reality of our profession – the endless multi-tasking, the long unpaid hours, and the peaks and troughs of generating your own work and being a creative-for-hire. Equally though they celebrate the joy and satisfaction when all that sweat and risk finally pays off.” Meera Syal CBE In this insightful joint working diary, the creative powerhouse of a couple, Lolita Chakrabarti and Adrian Lester, chronicle 16 months of their fascinating working lives, including their experiences working on the stage adaptation of Life of Pi, an original series of monologues about the NHS, the film adaptation of Red Velvet and the TV series The Rook, among many other projects. As readers, we experience, first-hand, their experiences as two of the most proactive and versatile theatre makers today, working across a range of media and exciting collaborations.

“An exhilarating, fascinating and eye-opening journey with two of our most inspirational creatives. A must-read for anyone interested in the crafts of acting and writing or considering a career as a self-employed artist. Lolita and Adrian don't shy away from documenting the reality of our profession – the endless multi-tasking, the long unpaid hours, and the peaks and troughs of generating your own work and being a creative-for-hire. Equally though they celebrate the joy and satisfaction when all that sweat and risk finally pays off.” Meera Syal CBE In this insightful joint working diary, the creative powerhouse of a couple, Lolita Chakrabarti and Adrian Lester, chronicle 16 months of their fascinating working lives, including their experiences working on the stage adaptation of Life of Pi, an original series of monologues about the NHS, the film adaptation of Red Velvet and the TV series The Rook, among many other projects. As readers, we experience, first-hand, their experiences as two of the most proactive and versatile theatre makers today, working across a range of media and exciting collaborations.

Sometimes it takes a long time to sound like yourself (Miles Davis) Two men meet at a funeral. Gil knew the deceased. Benny did not. Before long their families are close. Soon they'll be singing the same tune. Benny is a loner anchored by his wife and children. Gil longs to fulfill his potential. They develop a deep bond but as cracks appear in their fragile lives they start to realise that true courage comes in different forms. Featuring music from Gil and Benny's lives, Lolita Chakrabarti's searching, soulful new play asks what it takes to be a good father, brother or son. This edition was published to coincide with the world premiere at London's Almeida Theatre in February 2021.

It's like being at a crossroads - a point of absolute, unequivocal change. It makes the blood rush. Theatre Royal, Covent Garden, 1833. Edmund Kean, the greatest actor of his generation, has collapsed on stage whilst playing Othello. A young black American actor has been asked to take over the role. But as the public riot in the streets over the abolition of slavery, how will the cast, critics and audience react to the revolution taking place in the theatre? Lolita Chakrabarti's play creates imagined experiences based on the little-known, but true, story of Ira Aldridge, an African-American actor who, in the nineteenth century, built an incredible reputation on the stages of London and Europe. Red Velvet received its world premiere at the Tricycle Theatre, London, on 11 October 2012, starring Adrian Lester as Ira Aldridge. It was revived at the Tricycle Theatre on 23 January 2014, before transferring to St Ann's Warehouse, New York, on 25 March 2014. This second edition includes the revisions made to the script for the 2014 revival of the play. It also features contextual articles by Lolita Chakrabarti about the real Ira Aldridge, and a piece by Professor Ayanna Thompson about the significance of Aldridge's erasure from standard theatre history and the importance of the play in this regard.

2014 was a spectacular year for playwright Simon Stephens, who has been described by the Independent as 'a brilliant writer of immense imagination' and by the Financial Times as having 'emerged in this millennium as an outstanding playwright'. 2014 was a year for Simon Stephens which featured a high number of world premiere plays including one for the theatre of his birthplace, Manchester's Royal Exchange, a major new play for the Downstairs space at London's Royal Court, and a Chekhov translation for London's Young Vic; a transfer of his West End hit The Curious Incident of the Dog in the Night-Time to Broadway; and projects in Germany, a country which has seen Stephens lauded, in which he has worked extensively, and which has shaped much of his dramaturgy. In addition to these major projects, Stephens continued his role as a mentor of young writers, actors and directors, and continued to be one of the most frequent, outspoken and fiercely intelligent voices of the playwriting scene. In an exceptionally honest account, Simon Stephens opens up to us, through daily diary entries, his working practices, his inner-most thoughts, his philosophy on theatre, the arts and politics, and his feelings and reactions to specific projects he has worked on. Through this, we are given unprecedented access to the mind of one of the most important playwrights of the twenty-first century.

A magical fantasy that is fast-paced and easy-to-read. Charlie Bone has a special gift- he can hear people in photographs talking.The fabulous powers of the Red King were passed down through his descendants, after turning up quite unexpectedly, in someone who had no idea where they came from. This is what happened to Charlie Bone, and to some of the children he met behind the grim, gray walls of Bloor's Academy. Charlie Bone has discovered an unusual gift-he can hear people in photographs talking! His scheming aunts decide to send him to Bloor Academy, a school for genius's where he uses his gifts to discover the truth despite all the dangers that lie ahead.

Covid-19 seems to be a sort of dirty bomb, thrown into the body to cause havoc. On the same day that the UK government finally made the first of two decisive interventions that led to a conspicuously late lockdown, David Hare contracted Covid-19. Nobody seemed to know much about it then, and many doctors are not altogether sure they know much more today. Suffering a pageant of apparently random symptoms, Hare recalls the delirium of his illness, which mixed with fear, dream, honest medicine and dishonest politics to create a monologue of furious urgency and power.

“One of the best literary works of this year” (Miami Herald-Tribune): The true story of a theatrical dream—or nightmare—come true…the making of the Spider-Man musical. As you might imagine, writing a Broadway musical has its challenges. But it turns out there are challenges one can’t begin to imagine when collaborating with two rock legends and a superstar director to stage the biggest, most expensive production in theater history. Renowned director Julie Taymor picked playwright Glen Berger to cowrite the book for a $25 million Spider-Man musical. Together—along with U2’s Bono and Edge—they would shape a work that was technically daring and emotionally profound, with a story fueled by the hero’s quest for love…and the villains’ quest for revenge. Or at least, that’s what they’d hoped for. But when charismatic producer Tony Adams died suddenly, the show began to lose its footing. Soon the budget was ballooning, financing was evaporating, and producers were jumping ship or getting demoted. And then came the injuries. And then came word-of-mouth about the show itself. What followed was a pageant of foul-ups, falling-outs, ever-more harrowing mishaps, and a whole lot of malfunctioning spider legs. This “circus-rock-and-roll-drama,” with its $65 million price tag, had become more of a spectacle than its creators ever wished for. During the show’s unprecedented seven months of previews, the company’s struggles to reach opening night inspired breathless tabloid coverage and garnered international notoriety. Through it all, Berger observed the chaos with his signature mix of big ambition and self-deprecating humor.

Black Acting Methods seeks to offer alternatives to the Euro-American performance styles that many actors find themselves working with. A wealth of contributions from directors, scholars and actor trainers address afrocentric processes and aesthetics, and interviews with key figures in Black American theatre illuminate their methods. This ground-breaking collection is an essential resource for teachers, students, actors and directors seeking to reclaim, reaffirm or even redefine the role and contributions of Black culture in theatre arts. Chapter 7 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

The Actor's Business Plan is a self-directed practical guide for actors graduating from formal training programs, as well as for those already in the business whose careers need to move ahead more successfully. Using the familiar language of acting training, the book offers a method for the achievement of dreams through a five-year life and career plan giving positive steps to develop a happy life as an actor and as a person. It assists performers to flourish using the same kind of business/career planning that is a necessary part of life for entrepreneurs and business people. This introduction to the acting industry provides essential knowledge not only for how the business actually works, but also describes what casting directors, agents, and managers do, demystifies the role of unions, discusses how much things cost, and offers advice on branding and marketing strategies. It differs from other such handbooks in that it addresses the everyday issues of life, money, and jobs that so frequently destroy an actor's career before it is even begun. While addressing NYC and LA, the guide also gives a regional breakdown for those actors who may wish to begin careers or to settle in other cities. It is loaded with personal stories, and interviews with actors, casting directors, and agents from throughout the US. The Actor's Business Plan is the answer to the common complaint by students that they were not taught how to negotiate the show business world while at school. It is the perfect antidote for this problem and can easily fit into a ten or a thirteen-week class syllabus. Offering support as a personal career coach, empowering the actor to take concrete steps towards their life and career dreams, The Actor's Business Plan: A Career Guide for the Acting Life is a must-have book for actors who are determined to be a part of the professional world .