Marcus Gardley – författare

A new translation of Shakespeare’s great tragedy that renews it for today’s audiences.  Marcus Gardley’s translation of King Lear renews the language of one of Shakespeare’s most frequently staged tragedies for a modern audience. Gardley’s update allows audiences to hear the play anew while still finding themselves in the tragic midst of Shakespeare’s play.  This translation of King Lear was written as part of the Oregon Shakespeare Festival’s Play On! project, which commissioned new translations of thirty-nine Shakespeare plays. These translations present the work of “The Bard” in language accessible to modern audiences while never losing the beauty of Shakespeare’s verse. Enlisting the talents of a diverse group of contemporary playwrights, screenwriters, and dramaturges from diverse backgrounds, this project reenvisions Shakespeare for the twenty-first century. These volumes make these works available for the first time in print—a new First Folio for a new era.

The Methuen Drama Book of New American Plays is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi's Stunning, is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley's lyrical epic The Road Weeps, The Well Runs Dry deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee's Pullman, WA deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall's Hurt Village uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn's Dying City melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc's The Big Meal, an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.

The Methuen Drama Book of New American Plays is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi''s Stunning, is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley''s lyrical epic The Road Weeps, The Well Runs Dry deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee''s Pullman, WA deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall''s Hurt Village uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn''s Dying City melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc''s The Big Meal, an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.

'Post-black' refers to an emerging trend within black arts to find new and multiple expressions of blackness, unburdened by the social and cultural expectations of blackness of the past and moving beyond the conventional binary of black and white. Reflecting this multiplicity of perspectives, the plays in this collection explode the traditional ways of representing black families on the American stage, and create new means to consider the interplay of race, with questions of class, gender, and sexuality. They engage and critique current definitions of black and African-American identity, as well as previous limitations placed on what constitutes blackness and black theatre.Written by the emerging stars of American theatre such as Eisa Davis and Marcus Gardley, the plays explore themes as varied as family and individuality, alienation and gentrification, and reconciliation and belonging. They demonstrate a wide-range of formal and structural innovations for the American theatre, and reflect the important ways in which contemporary playwrights are expanding the American dramatic canon with new and diverse means of representation. Edited by two leading US scholars in black drama, Harry J. Elam Jr (Stanford) and Douglas A. Jones Jr (Princeton), this cutting edge anthology gathers together some of the most exciting new American plays, selected by a rigorous academic backbone and explored in depth by supporting critical material.

''Post-black'' refers to an emerging trend within black arts to find new and multiple expressions of blackness, unburdened by the social and cultural expectations of blackness of the past and moving beyond the conventional binary of black and white. Reflecting this multiplicity of perspectives, the plays in this collection explode the traditional ways of representing black families on the American stage, and create new means to consider the interplay of race, with questions of class, gender, and sexuality. They engage and critique current definitions of black and African-American identity, as well as previous limitations placed on what constitutes blackness and black theatre.Written by the emerging stars of American theatre such as Eisa Davis and Marcus Gardley, the plays explore themes as varied as family and individuality, alienation and gentrification, and reconciliation and belonging. They demonstrate a wide-range of formal and structural innovations for the American theatre, and reflect the important ways in which contemporary playwrights are expanding the American dramatic canon with new and diverse means of representation. Edited by two leading US scholars in black drama, Harry J. Elam Jr (Stanford) and Douglas A. Jones Jr (Princeton), this cutting edge anthology gathers together some of the most exciting new American plays, selected by a rigorous academic backbone and explored in depth by supporting critical material.

''Post-black'' refers to an emerging trend within black arts to find new and multiple expressions of blackness, unburdened by the social and cultural expectations of blackness of the past and moving beyond the conventional binary of black and white. Reflecting this multiplicity of perspectives, the plays in this collection explode the traditional ways of representing black families on the American stage, and create new means to consider the interplay of race, with questions of class, gender, and sexuality. They engage and critique current definitions of black and African-American identity, as well as previous limitations placed on what constitutes blackness and black theatre.Written by the emerging stars of American theatre such as Eisa Davis and Marcus Gardley, the plays explore themes as varied as family and individuality, alienation and gentrification, and reconciliation and belonging. They demonstrate a wide-range of formal and structural innovations for the American theatre, and reflect the important ways in which contemporary playwrights are expanding the American dramatic canon with new and diverse means of representation. Edited by two leading US scholars in black drama, Harry J. Elam Jr (Stanford) and Douglas A. Jones Jr (Princeton), this cutting edge anthology gathers together some of the most exciting new American plays, selected by a rigorous academic backbone and explored in depth by supporting critical material.

The Methuen Drama Book of New American Plays is an anthology of six outstanding plays from some of the most exciting playwrights currently receiving critical acclaim in the States. It showcases work produced at a number of the leading theatres during the last decade and charts something of the extraordinary range of current playwriting in America. It will be invaluable not only to readers and theatergoers in the U.S., but to those around the world seeking out new American plays and an insight into how U.S. playwrights are engaging with their current social and political environment. There is a rich collection of distinctive, diverse voices at work in the contemporary American theatre and this brings together six of the best, with work by David Adjmi, Marcus Gardley, Young Jean Lee, Katori Hall, Christopher Shinn and Dan LeFranc. The featured plays range from the intimate to the epic, the personal to the national and taken together explore a variety of cultural perspectives on life in America. The first play, David Adjmi''s Stunning, is an excavation of ruptured identity set in modern day Midwood, Brooklyn, in the heart of the insular Syrian-Jewish community; Marcus Gardley''s lyrical epic The Road Weeps, The Well Runs Dry deals with the migration of Black Seminoles, is set in mid-1800s Oklahoma and speaks directly to modern spirituality, relocation and cultural history; Young Jean Lee''s Pullman, WA deals with self-hatred and the self-help culture in her formally inventive three-character play; Katori Hall''s Hurt Village uses the real housing project of "Hurt Village" as a potent allegory for urban neglect set against the backdrop of the Iraq war; Christopher Shinn''s Dying City melds the personal and political in a theatrical crucible that cracks open our response to 9/11 and Abu Graib, and finally Dan LeFranc''s The Big Meal, an inter-generational play spanning eighty years, is set in the mid-west in a generic restaurant and considers family legacy and how some of the smallest events in life turn out to be the most significant.

You may be the wealthiest colored woman in New Orleans, but you built this house on sand, lies and dead bodies.New Orleans, 1836. Following an era of French colonial rule and relative racial acceptance, Louisiana’s ‘free people of color’ are prospering. Beatrice, a free woman of colour, has become one of the city’s wealthiest women through her relationship with a rich white man. However, when her lover mysteriously dies, Beatrice imposes a six-month period of mourning on herself and her three daughters. But, as the summer heat intensifies, the foundations of freedom she has built for herself and their three unwed daughters begin to crumble. Society is changing, racial divides are growing and, as the members of the household turn on each other in their fight for survival, it could cost them everything. A bewitching new drama of desire, jealousy, murder and voodoo, The House That Will Not Stand received its world premiere at Berkeley Rep, US, in January 2014, and was subsequently produced at the Tricycle Theatre, London, on 9 October 2014.This edition features an introduction by Professor Ayanna Thompson, Columbian College of Arts and Sciences.

You may be the wealthiest colored woman in New Orleans, but you built this house on sand, lies and dead bodies.New Orleans, 1836. Following an era of French colonial rule and relative racial acceptance, Louisiana''s ''free people of color'' are prospering. Beatrice, a free woman of colour, has become one of the city''s wealthiest women through her relationship with a rich white man. However, when her lover mysteriously dies, Beatrice imposes a six-month period of mourning on herself and her three daughters. But, as the summer heat intensifies, the foundations of freedom she has built for herself and their three unwed daughters begin to crumble. Society is changing, racial divides are growing and, as the members of the household turn on each other in their fight for survival, it could cost them everything. A bewitching new drama of desire, jealousy, murder and voodoo, The House That Will Not Stand received its world premiere at Berkeley Rep, US, in January 2014, and was subsequently produced at the Tricycle Theatre, London, on 9 October 2014.This edition features an introduction by Professor Ayanna Thompson, Columbian College of Arts and Sciences.

You may be the wealthiest colored woman in New Orleans, but you built this house on sand, lies and dead bodies.New Orleans, 1836. Following an era of French colonial rule and relative racial acceptance, Louisiana''s ''free people of color'' are prospering. Beatrice, a free woman of colour, has become one of the city''s wealthiest women through her relationship with a rich white man. However, when her lover mysteriously dies, Beatrice imposes a six-month period of mourning on herself and her three daughters. But, as the summer heat intensifies, the foundations of freedom she has built for herself and their three unwed daughters begin to crumble. Society is changing, racial divides are growing and, as the members of the household turn on each other in their fight for survival, it could cost them everything. A bewitching new drama of desire, jealousy, murder and voodoo, The House That Will Not Stand received its world premiere at Berkeley Rep, US, in January 2014, and was subsequently produced at the Tricycle Theatre, London, on 9 October 2014.This edition features an introduction by Professor Ayanna Thompson, Columbian College of Arts and Sciences.

This fresh take on Molière’s Tartuffe, set in a world of fast-food tycoons and megachurches is a wicked new comedy that rocks the foundations of trust, faith and redemption.Given just days to live, multi-millionaire Archibald Organdy rejects costly experimental treatment and opts to face his end surrounded by his loving family. However, things could be about to change.Arriving in Atlanta the flamboyant Archbishop Tardimus Toof, a prophet, preacher and part-time masseur promises to absolve Archibald’s sins and heal his disease. But his family suspects there’s more to this healer than faith, virtue and snakeskin shoes.This programme text was published to coincides with the world premiere at the Tricycle Theatre, London, which opened on 8 October 2015.

This fresh take on Molière''s Tartuffe, set in a world of fast-food tycoons and megachurches is a wicked new comedy that rocks the foundations of trust, faith and redemption.Given just days to live, multi-millionaire Archibald Organdy rejects costly experimental treatment and opts to face his end surrounded by his loving family. However, things could be about to change.Arriving in Atlanta the flamboyant Archbishop Tardimus Toof, a prophet, preacher and part-time masseur promises to absolve Archibald''s sins and heal his disease. But his family suspects there''s more to this healer than faith, virtue and snakeskin shoes.This programme text was published to coincides with the world premiere at the Tricycle Theatre, London, which opened on 8 October 2015.