audio Sin

LA Theatre Works
Type: Audio

Featuring Steve Carell, Sin is a contemporary morality play about a helicopter traffic reporter who is trying to keep herself above life's messiness. Her soon-to-be-ex-husband is a charming alcoholic, her roommate is a glutton, she's trapped daily in a helicopter with an envious coworker, and her blind dates are disasters. It takes her dying brother to make her see that pride is the deadliest of sins, and it takes an Act of God to bring her back down to Earth.

An L.A. Theatre Works full-cast performance featuring: Steve Carell as Date (Greed); Kyle Colerider-Krugh as Fred (Envy); Jeffrey Hutchinson as Gerard, Avery’s Brother (Pride); Amy Morton as Avery; David M. Pasquesi as Michael (Sloth); Steve Pickering as Jason (Wrath); Tim Rhoze as Man (Lust); Karen Vaccaro as Helen (Gluttony). Recorded at the Goodman Theatre, Chicago for Chicago Theatres on the Air in 1995.

Featuring: Steve Carell, Kyle Colerider-Krugh, Jeffrey Hutchinson, Amy Morton, David M. Pasquesi, Steve Pickering, Tim Rhoze, Karen Vaccaro


Bloomsbury Publishing
Type: Text

Funny, powerful and transgressive, Sodom refigures the classic biblical tale of Lot, using it to examine the dangers of being different in a rigid world. Claire Dowie reveals that, in fact, everyone in Sodom, apart from Lot and his wife, is gay.

Dowie then translates the morality of the biblical story to examine the persecution of a distrusted commune in the modern day.

Sodom shows that society’s fear of the Other translates across the millennia.

A Song at Twilight: from Suite in Three Keys

Bloomsbury Publishing
Type: Text

A Song at Twilight is the first play in the trilogy, Suite in Three Keys, in which each play is set in the same Swiss hotel suite. It was written by Coward in 1966, and represents the last of his output for the stage before he died.

Sheridan Morley wrote: 'Of the three plays, A Song at Twilight [is] the most important and also far and away the best: an earnest moral drama, it concerns an ageing distinguished, petulant, bitchy and truculent writer who has managed to conceal his homosexuality from the world for decades at the cost of warping his talent and cutting off his human sympathies.'

Suppliants (Euripides)

Bloomsbury Publishing
Type: Text

The haunting spectre of unburied corpses begins the action of Euripides' Suppliants. Aithra, mother of the king of Athens, Theseus, pleads with her son to exhort Thebes to release the bodies of the sons of Athens killed in Thebes, hired by Polyneikes to fight in the post-Oedipal era of Theban civil war. Theseus agrees to the request, but only after ascertaining that it is the democratic will of the people of Athens that he should make this plea to the Thebans.

The Thebans, for their part, refuse, mocking Athenian democratic principles along the way. A battle between the two cities erupts; this time, however, Theseus fights only to gain that which his mandate had sought: the return of the bodies for their holy rites.

In the play, as J. Michael Walton writes, 'the level of the debate quickly rises to a dual consideration of the anture of war and the relative values of differing poltical systems. This is not Theseus' squabble, as he is quick to point out. He is soon persuaded that it is his buisiness. The rights and wrongs of interferences into the behaviour of other countries on moral grounds is a debate which has proved open-ended. All the deliberations of the United Nations Security Council have resulted only in guidelines to which every example seems to offer special pleading.'

Suppliants forms the last episode in the saga of the house of Oedipus.

The York Mystery Plays

Nick Hern Books
Type: Text

Mike Poulton's version of the medieval play cycle known as The York Mystery Plays (a cycle that was first performed in the city of York in the 1300s) was commissioned for a production in York Minster in 2000 as part of the city's Millennium celebrations. This revised text was first performed at York Minster on 26 May 2016.

The cycle comprises 48 mystery plays or 'pageants' covering sacred history from the Creation of Heaven and Earth to the Last Judgment.

In an Author's Note in the published script, Poulton writes: 'The scope and completeness of the York cycle is astonishing. The subtlety and variety of the verse and characterisation are accessible and actable. Today the vocabulary may have changed but the old rhythms are detectable still in the Yorkshire dialect. On setting to work it became clear to me that the text is the work of playwrights rather than authors – people who understood how a play works, and knew how to write clear and deliverable lines, as well as when to stand back from the script and leave everything to the director and the actors. So my approach to the text was to retain as much of the original as I thought would be accessible to today’s audience. As far as possible I kept the original words, rhythms, and speech patterns. Where I had to modernise I attempted to show the spirit that lies under the lines rather than produce a prosaic translation of the lines themselves. And most of all I tried to offer each character in the play the personality and individuality I found in the original text. So I hope my version has the right mix of humour, joy, pathos, and grandeur that make the original York Mysteries one of the great achievements of European literature.'

The original 2000 York Minster production was directed by Gregory Doran with Ray Stevenson in the role of Jesus.

The 2016 production was directed by Phillip Breen with Becky Hope-Palmer, and designed by Max Jones with Ruth Hall. The part of Jesus was played by Philip McGinley.

In medieval Europe, a type of allegorical drama in which personified vices and virtues are usually shown struggling for the soul of Mankind. Morality dramas began to appear in about 1400, the first important example being the English The Castle of Perseverance (c. 1405). During the later 15th century the genre overtook the mystery play in popularity. Other well-known examples are the anonymous Everyman (c. 1500), John Skelton’s Magnyfyence (c. 1520), and Sir David Lyndsay’s Ane Pleasant Satyre of the Thre Estaitis (1552). The morality play developed into the moral interlude during the later Tudor period.

from Jonathan Law ed., The Methuen Drama Dictionary of the Theatre (London, 2011).