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This is an intense drama of love, deception, jealousy and destruction. Desdemona's love for Othello, the Moor, transcends racial prejudice; but the envious Iago conspires to devastate their lives. In its vivid rendering of racism, sexism, contested identities, and the savagery lurking within civilisation, Othello is arguably the most topical and accessible tragedy from Shakespeare's major phase as a dramatist.

Pygmalion, Heartbreak House, and Saint Joan are widely considered to be three of the most important in the canon of modern British theatre. Pygmalion (1912) was a world-wide smash hit from the time of its première in Vienna 1913 and it has remained popular to this day. Shaw was awarded an Academy Award in 1938 for his screenplay of the film adaptation.

It was, of course, later made into the much-loved musical My Fair Lady. Heartbreak House (1917), which was finally performed in 1920 and published in 1921, bares the hallmarks of European modernism and a formal break from Shaw's previous work. A meditation on the war and the resultant decline in European aristocratic culture, it was perhaps staged too soon after the conflict; indeed, it did not have the success of his earlier works, which was likely due to his experimental aesthetics combined with a war-weary audience that sought lighter fare.

However, while this contemporary reception was muted, it is now recognised as a modernist masterpiece. Saint Joan (1923) marked Shaw's resurrection and apotheosis. The first major work written of Joan of Arc after her canonization (1920), the play interrogates the origins of European nationalism in the post-war era.

Like Pygmalion, it was an immediate world-wide hit and secured Shaw the Nobel Prize for Literature in 1925. Drawing upon the transcripts of Joan's trial, Shaw blended his trademark wit to produce a hybrid genre of comedy and history play. Despite the historical setting, Saint Joan is highly accessible and continues to delight audiences.

Love, sex and death are the components of Shakespeare's classic story of the love of two young people which reaches across the barriers of family and convention. It encompasses great love, high drama, low comedy and a tragic ending. Romeo and Juliet is a pure tragedy of youth told in verse that is both youthful and intense. The loveliness and the music of the poetry make believable the otherwise commonplace afflictions of blighted love.

'There are times in the theatre when you suddenly find yourself in the grip of silence. There is no fidgeting or coughing, no shifting about in seats: the audience's attention is so tense it is almost palpable. This is because it is both thrilling and dangerous: a fight to the death, or the dawning of salvation. David Hare's new play, Skylight, is punctuated by such moments. They are the signs that a dramatist of the first rank is writing at full stretch, in complete command of his material, undogmatic and unafraid, unforgiving and compassionate.' Sunday Times Skylight was revived in a new production at the Wyndham's Theatre, London, in June 2014, which received the Evening Standard Revival of the Year Award.

Presents the story of how the small community of Salem is stirred into madness by superstition, paranoia and malice, culminating in a violent climax.

'The Duchess of Padua' is a five-act play by Oscar Wilde which was originally written for actress Mary Anderson in 1883. Due to her rejection of the play, it was not performed. It later appeared in its first publication in German in 1904. Fans of Wilde will delight in this fine play of his.

William Butler Yeats (1865-1939) was an instrumental figure in the "Irish Literary Revival" of the 20th Century that redefined Irish writing. His father's love of reading aloud exposed him early on to William Shakespeare, the Romantic poets and the pre-Raphaelites, and developed an interest in Irish myths and folklore. Yeats was a complex man, who struggled between beliefs in the strange and supernatural, and scorn for modern science. He was intrigued by the idea of mysticism, yet had little regard for Christianity. He was awarded the Nobel Prize in Literature in 1923, and received honorary degrees from Queen's University (Belfast), Trinity College (Dublin), and the Universities of Oxford and Cambridge. His Morality play, "The Hour Glass", appeared on stage as early as 1902, and underwent many revisions by its final version in 1922. This edition contains the prose version of that play. The story presents a Fool, a Wise Man and an Angel who sort through questions of faith, doubt and the Wise Man's unrelenting rationalism. In this edition we have Yeats' prose version of the play.

Three generations of the Blake family have assembled for Thanksgiving in Brigid and Richard's ramshackle pre-war apartment in Lower Manhattan. Whilst the event may have a slightly improvised air, the family is determined to make the best of its time together. As they attempt to focus on the traditional festivities, fears of the past and pressures of the future seep into the reunion and the precariousness of their position becomes increasingly evident. Stephen Karam's blisteringly funny and bruisingly sad drama, The Humans, is a stunning portrayal of the human condition; a family at its best and worst navigating the challenges of everyday life. The Humans premiered in Chicago in 2014, before transferring to the Roundabout Theatre Company, New York, in 2015; Broadway in 2016; and Hampstead Theatre, London, in 2018. The production won numerous awards, including the Tony Award and the New York Drama Critics' Circle Award for Best Play. A film adaptation, written and directed by Stephen Karam, was premiered in 2021.

HarperCollins is proud to present its incredible range of best-loved, essential classics. 'The quality of mercy is not strain'd,It droppeth as the gentle rain from heaven’ Bassiano, a noble Venetian, hopes to woo the beautiful heiress Portia. However, he requires financial assistance from his friend Antonio. Antonio agrees, but he, in turn, must borrow from the Jewish moneylender Shylock. As recourse for past ills, Shylock stipulates that the forfeit on the loan must be a pound of Antonio’s flesh. In the most renowned onstage law scene of all time, Portia proves herself one of Shakespeare’s most cunning heroines, disguising herself as a lawyer and vanquishing Shylock’s claims; meanwhile, Shylock triumphs on a humanitarian level with his plea for tolerance: ‘Hath not a Jew eyes?’ Viewed paradoxically as anti-Semitic, while at the same time powerfully liberal for its time, The Merchant of Venice is at its core a bittersweet drama, exploring the noble themes of prejudice, justice and honour.