Plays

Francis Bacon described revenge as a 'kind of wild justice'. Then as now, early modern playwrights and their theatre-going public were fascinated by the anarchic energies that a desire for retribution unleashes. Rather than rehearsing familiar conventions, each of these plays presents a unique social and cultural milieu where dark fantasies of revenge are variously played out.In Kyd's The Spanish Tragedy a grieving father seeks public justice for the murder of his son by envious princelings. When his attempts are thwarted he turns a court spectacle of murder into the 'real' thing. Blackly comic in its tone and style, The Revenger's Tragedy (anon.) presents vengeance as mimetic art, witty and cruel. Ford's ' Tis Pity She's a Whore represents an innovative re-working of the genre as a brother's love for his sister leads to his spectacular revenge on his rival, her husband, in a society in which brutal retaliation for perceived wrong is the norm. In Webster's The White Devil crimes of passion ignite revenge in the courts of the Italian city states.This student edition contains fully annotated, modernized texts of each play together with an introduction discussing the dramatic and poetic style of each play, focusing on its action and play of ideas.

Let Tan Tarn How, one of Singapore’s most controversial playwrights, take you on a journey that confronts the social and political issues facing Singaporeans today. With his signature wit and unflinching candour, he puts the spotlight on issues of life and death, sex and love, government, national identity and racism. This collection contains six award-winning plays and an introduction by Dr. K. K. Seet.Reviews:On The Lady of Soul and Her Ultimate “S” Machine“…the most important thing about Tan Tarn How’s play is its marking of a watershed in Singapore theatre: it is arguably the first English play to present the country critically and artistically, without hiding behind coy allegory.”—Hannah Pandian, The Straits TimesOn Undercover“The play, a farce about the goings-on in an internal security department, takes Singapore theatre into uncharted territory.”—Koh Buck Song, The Straits TimesOn Six of the Best“Six of the Best, in dealing with such an explosive topic, will hopefully get under the skin to the heart of racism in Singapore.”—Phua Mei Pin, The Straits TimesOn The First Emperor’s Last Days“With The First Emperor’s Last Days, playwright Tan Tarn How continues to stake out a unique place for himself in Singapore theatre, as a creator of topical, political plays.”—Cherian George, The Straits TimesOn Machine“Tan’s sensitivity and genius is obvious throughout: the dialogue is light but loaded. In the exchanges, there are just the right doses of surprise to compliment, of feigned ignorance to encourage and of coyness to intrigue, as both the man and woman manoeuvre expertly towards their ultimate goal—the bed, after which the relationship ceases to be.”—Suhaila Sulaiman, The Straits Times

The maestro of political plays is back and his latest offering in a decade, Fear of Writing, is a groundbreaking commentary with its finger on the political pulse of Singapore today, first staged by Theatreworks in 2011 to critical acclaim.In Fear of Writing, a playwright struggles with writer’s block, a director and producer bemoan their failure to get a government license to stage their play, and a father writes to his daughter overseas. Seemingly disparate elements are woven together, while the line between art, performance and reality begin to blur dramatically as the play reaches its chilling conclusion.Fear of Writing is a play that will haunt you while compelling you to decide where you stand on the issues of control and censorship.“[A]n important summation work at Tan's mid-point career. More than any other work in the Singapore canon, it questions the point and purpose of making theatre in Singapore.” —Helmi Yusof, "The finest plays in 50 years", The Business Times“Fear of Writing is an urgent and courageous piece of work.” —Adeline Chia, The Straits Times“A scathing indictment. It analyses the very act of writing itself and its limits.” —Mayo Martin, TODAY“One of the most intelligent and scathing dramas ever written about the machinery of Singapore politics and the individual capacity to be a force for change. Tan has produced the gravest and most compelling work of his 20-year playwriting career.” —Clarissa Oon, The Straits Times