The nativity, a Christmas service,

"Republished by courtesy of the Youth's companion."

Christmas at golden Gulch; a Christmas play ...

Mode of access: Internet.

Navidad : milagro en tres cuadros /

Mode of access: Internet.

The evergreen tree,

Added t. p.: The evergreen tree: a masque of Christmas time for community singing and acting, by Percy MacKaye, with scenic and costume designs by Robert Edmond Jones: together with three monographs on the masque written by the author, the scenic designer, and Arthur Farwell, composer of the music.

Ein deutsches Weihnachtsspiel /

Previously published in 1908.

Das schönburgisch-erzgebirgische Christ- und Weihnachtsspiel ...

Mode of access: Internet.

Weihnachtlieder und Krippenspiele aus Oberösterreich und Tirol. Gesammelt und hrsg. von Wilhelm Pailler.

Each volume has also special t.-p.

Festival plays; one-act pieces for New Year's day , St. Valentine's day, Easter, All Hallowe'en, Christmas and a child's birthday,

Father Time and his children (New Year's day)--Tertulla's garden, or The miracle of good St. Valentine (Valentine's day)--The seven sleepers of Ephesos (Easter)--Princess Moss Rose (for every child's birthday)--The testing of Sir Gawayne (Hallowe'en)--A Christmas party (Christmas)

The dispensation, and other plays,

The dispensation.--The star of Bethlehem.--"Through Christmas bells."--The awakening of Barbizon.

False premises; five one act plays,

The Christmas tree.--The torch of time: a study in revolution.--Moonshine.--A fool and his money: a wayward comedy.--The house-fairy.

A Christmas chime : a play in one act /

Mode of access: Internet.

Short plays about famous authors,

Introduction.--A mistake at the manor ["based on an incident in the early life of Oliver Goldsmith"]--When Heine was twenty-one.--Miss Burney at court.--A Christmas eve with Charles Dickens.--The fairies' plea; an interlude for Shakespeare day. Adapted from Thomas Hood's "Plea of the midsummer fairies."

Suicide plays

Suicide is a uniquely human behaviour and has always elicited strong - usually negative - opinions. Thus I would like to state from the very outset that this morbid collection of writing (all separately published elsewhere previously) should not be seen as an attempt to glamorise the act of felo-de-se. Nevertheless, one needs to recognise the inherent theatricality of suicide: too often it is a petulant, peevish performance intended to convey a bitter message to the audience of those left behind. Unfortunately, it is also a performance that many similarly unhappy souls try to emulate, and this phenomenon, known as “The Werther Effect”, is the subject of the first paper, which serves as a most appropriate introduction to the four plays that follow it. The first play, entitled “Hamlet + Ophelia = ?”, is deliberately provocative, and may easily be misunderstood as a call to commit self-murder. It is hoped, however, that the protagonists of this angry little piece are seen to be impetuous and childish, rather than noble or deep. The second play, “Games for Married Couples”, is less about seppuku than it is about the despair of child-less marriage. It is not much happier than the first, but may nevertheless raise a smile or two. “His ... or Her ... Suicide”, on the other hand, is utterly frivolous. I am sure no reader will take it seriously. Finally, and circuitously, is the stage adaptation (and translation) of Goethe’s classic 1774 novella "Die Leiden des jungen Werthers". This piece was produced as part of my 2005 Master of Creative Arts at the University of Melbourne in Australia. Many thanks must go to my supervisor, Associate Professor Angela O’Brien, for prodding and poking me until the thesis was of an acceptable standard.

Independent Brisbane: Four Plays [BOOK REVIEW]

Independent Brisbane: Four Plays is, as the title suggests, a collection of plays by independent theatre-makers and theatre-making collectives in Brisbane in the 2002– 07 period, including Marcel Dorney’s Harriers (6–51), the nest’s The Knowing of Mary Poppins (52–102), Linda Hassall’s Post Office Rose (103–71) and Maxine Mellor’s Magda’s Fascination with Wax Cats (172–216). According to the contextualising information on the book’s back cover, these plays are ‘distinctive’ in content, story and style, ‘[y]et carry with them what is characteristic of the city they come from – a preoccupation with landscape, creation in tightly knit collaborative teams and brave, often unexpected, theatrical choices’.