Audio Books

Coriolanus

William Shakespeare
Shakespeare was passionately interested in the history of Rome, as is evident from plays like Titus Andronicus, Julius Caesar, and Antony and Cleopatra. His tragedy Coriolanus was probably written around 1605-07, and dramatizes the rise and fall of a great Roman general, Caius Martius (later surnamed Coriolanus because of his military victory at Corioli). This play is unusual in that it provides a strong voice for the ordinary citizens of Rome, who begin the play rioting about the high price of food, and who continually clash with Coriolanus because of his contempt for plebians.

Richard II

William Shakespeare
Richard II by William Shakespeare is the first of eight plays that portray a historically-informed version of the War of the Roses - beginning in about 1365 and ending with Richard III's death in 1485.

History of Troilus and Cressida (version 2)

William Shakespeare
The History of Troilus and Cressida has long baffled critics and audiences alike for its inconsistent tone, which ranges from bawdy comedy to somber tragedy, as well as its decidedly unheroic and unsympathetic cast of characters. It is also a work with a multivalent focus, jumping between different subplots and locations so that even the titular characters become lost in the shuffle of warcraft, manipulation, betrayal, and thwarted machismo. Not only do we follow the young Trojan warrior Troilus on his quest to woo the noncommittal Cressida, but also the Greek leader Agamemnon and his plot to sway the proud Achilles into battle, as well as the scurrilous fool Thersites, who rails against the hypocrisy of everyone involved in a war born (and continued) out of vanity and a bunch of overactive libidos. It is a play that caustically skewers the romance and valour of the Trojan War, as told by the likes of Homer, Chaucer, and Lydgate, while experimenting with the dramatic form in such a way that modern resonances can be found even today.

Two Noble Kinsmen

John Fletcher
The Two Noble Kinsmen is a Jacobean tragicomedy co-written by William Shakespeare and John Fletcher, first published in 1634. Set in ancient Greece during a war between Athens and Thebes, the narrative follows the title characters, Palamon and Arcite, noble youths whose friendship is destroyed by their mutual love for the beautiful Emilia. The subplot deals with the love and eventual madness of the Gaoler's Daughter, who falls hopelessly in love with Palamon. The play is based on "The Knight's Tale" by Chaucer, but also has echoes of Shakespeare's A Midsummer Night's Dream, as two of the major characters are Theseus and Hippolyta, who also appear in the earlier play.

Trojan Women (Murray Translation)

Euripides
Euripides' play follows the fates of the women of Troy after their city has been sacked, their husbands killed, and as their remaining families are about to be taken away as slaves. However, it begins first with the gods Athena and Poseidon discussing ways to punish the Greek armies because they condoned Ajax the Lesser for dragging Cassandra away from Athena's temple. What follows shows how much the Trojan women have suffered as their grief is compounded when the Greeks dole out additional deaths and divide their shares of women. This translation by Gilbert Murray was published in 1915.

Gamester

Edward Moore
The Gamester is Edward Moore's most famous work, and while it has fallen into relative obscurity in the last century, at the time it marked an important shift in the staging of eighteenth century tragedy. More specifically, it was one of the first plays to depict bourgeois suffering through the valence of moral values, moving the genre away from the lofty depiction of kings and empires toward something much closer to home for middle-class audiences. As such, the play depicts the trials and tribulations of Beverley, a dissolute gambler whose uncontrollable addiction has endangered the financial security of his household. Unbeknownst to him, however, is the fact that his money is being pocketed by a cadre of villainous sharpers led by the Machiavellian Stukely, who has designs on Beverley's wife and pretends to be his concerned friend. What follows is a drama that, while not possessing the greatest artistic merit, nevertheless affects us as keenly as it did the people who saw its first performance at the Drury Lane Theater on February 7, 1753.

Maid's Tragedy

Francis Beaumont
Beaumont and Fletcher's The Maid's Tragedy (first published 1619) is a sensational Jacobean sex tragedy. When gentleman soldier Melantius returns to Rhodes, he finds his dear friend Amintor is recently married - but not to his troth-plight love Aspatia (the maid of the title). Instead, the King has arranged a match between Amintor and Melantius' sister, the beautiful Evadne. On his wedding night, Amintor finds that his new wife has married him under false pretenses - and this unleashes a torrent of dire consequences, sexual, emotional, and ultimately political.

Touch and Go

D. H. Lawrence
A man is speaking to a group of colliers in a small mining village. They have decided that they have had enough of the way they are treated and decide to go on strike. A battle of wills ensues

Purgatory of St. Patrick

Pedro Calderón de la Barca
This is a "mystical drama founded on the lives of Saints. Mr. Ticknor prefers it to the more celebrated 'Devotion of the Cross,' and says that it 'is commonly ranked among the best religious plays of the Spanish theatre in the seventeenth century.' In all that relates to the famous cave known through the middle ages as the 'Purgatory of Saint Patrick', as well as the Story of Luis Enius — the Owain Miles of Ancient English poetry."

Perjur'd Husband, or The Adventures of Venice

Susanna Centlivre
Centlivre's first play: a tragedy. Star-crossed lovers, one married and the other betrothed elsewhere. Secret letters gone astray, gender changing disguises, climax at masked ball.

Return of Peter Grimm

David Belasco
"Mr. Belasco has written the following account of "Peter's" evolution: [ ] The play, "The Return of Peter Grimm," is an expression in dramatic form of my ideas on a subject which I have pondered over since boyhood: "Can the dead come back?" Peter Grimm did come back. At the same time, I inserted a note in my program to say that I advanced no positive opinion; that the treatment of the play allowed the audience to believe that it had actually seen Peter, or that he had not been seen but existed merely in the minds of the characters on the stage. Spiritualists from all over the country flocked to see "The Return of Peter Grimm," and I have heard that it gave comfort to many. It was a difficult theme, and more than once I was tempted to give it up. But since it has given relief to those who have loved and lost, it was not written in vain."

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