National Network for Equitable Library Service

Those Who Can't, Teach turns the spotlight on the madcap lives of teachers and students in a typical secondary school in Singapore. As the teachers struggle daily to nurture and groom, the students prefer to hang out and "chillax". With upskirting and Facebooking, griping and politicking, school takes on a whole new meaning as the colourful characters struggle to prove that those who can, teach. Written by Singapore's most prolific playwright Haresh Sharma, Those Who Can't, Teach was first staged by The Necessary Stage in 1990 to critical acclaim.

Mr and Mrs Twit are not very nice. In fact they're extremely nasty. They're nasty to each other, and they're vile to everyone else. They hold a family of monkeys hostage in a cage and force them to stand on their heads. All the time. We told you they weren't very nice. Can the monkeys find a way to show those vicious Twits what for? Mischievously adapted from Roald Dahl's story, acclaimed playwright Enda Walsh turns The Twits upside down and brings this revolting revolution to the stage. First performed at the Royal Court Theatre in April 2015.

Winner of the 2008 Pulitzer Prize for Drama and the 2008 Tony Award for Best New Play. —"A tremendous achievement in American playwriting: a tragicomic populist portrait of a tough land and a tougher people." —TimeOut New York. —"Tracy Letts' August: Osage County is what O'Neill would be writing in 2007. Letts has recaptured the nobility of American drama's mid-century heyday while still creating something entirely original." —New York magazine. —"I don't care if August: Osage County is three-and-a-half hours long.

"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. 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.

'I sit on the loo and think about all the people I can have sex with now. I'm not obsessed with sex. I just can't stop thinking about it.' The Fleabag bites back. A rip-roaring account of some sort of female living her sort of life. Phoebe Waller-Bridge's debut play is an outrageously funny monologue for a female performer. It premiered at the 2013 Edinburgh Festival Fringe, performed by Phoebe herself, before transferring to Soho Theatre, London, for several successful runs, followed by a UK tour.

Jessica Hagedorn has transformed her bestselling novel about the Philippines during the reign of Ferdinand and Imelda Marcos into an equally powerful theatrical piece that is a multi-layered tour de force. —As Harold Bloom writes, "Hagedorn expresses the conflicts experienced by Asian immigrants caught between cultures... she takes aim at racism in the U.S. and develops in her dramas the themes of displacement and the search for belonging." —Jessica Hagedorn is a performance artist, poet, novelist, and playwright, born and raised in the Philippines.

"Eurydice is a luminous retelling of the Orpheus myth from his beloved wife's point of view. Watching it, we enter a singular, surreal world, as lush and limpid as a dream—an anxiety dream of love and loss—where both author and audience swim in the magical, sometimes menacing, and always thrilling flow of the unconscious... Ruhl's theatrical voice is reticent and daring, accurate and outlandish." —John Lahr, New Yorker. —A reimagining of the classic myth of Orpheus through the eyes of its heroine.

Winner of the 2019 Pulitzer Prize for Drama. —"Dazzling and ruthless... One of the most exquisitely and systematically arranged ambushes of an unsuspecting audience in years... A glorious, scary reminder of the unmatched power of live theater to rattle, roil and shake us wide awake." —Ben Brantley, New York Times. —Grandma's birthday approaches. Beverly is organizing the perfect dinner, but everything seems doomed from the start: the silverware is all wrong, the carrots need chopping and the radio is on the fritz.

Quiara Alegría Hudes' stage adaptation of her much-lauded memoir is a joyous celebration of Puerto Rican womanhood in 1990s West Philadelphia. In this memoir-turned-play, Hudes showcases a handful of key life moments that mark subtle changes in her sense of self and her place in the world. Interlaid between these vignettes are moments of song, dance, and ritual that evoke her boisterous girlhood in a house run by the Perez women. Through this piece, we come to understand the collaborative art that was Hudes's coming of age, and the communal nature of autobiography.

"The closest thing that the American theater currently has to a David Foster Wallace, Rapp can give you the head rush of sophisticated literary allusion and unreliable narrative trickery à la Dostoevsky, and yet talk of Plano, Illinois, and let you know that he knows exactly how it feels - A gripping stunner of a play." - Chris Jones, Chicago Tribune. When Bella Baird, an isolated creative writing professor at Yale, begins to mentor a brilliant but enigmatic student, Christopher, the two form an unexpectedly intense bond.