Mark Antony, one of the three rulers of the Roman world, has become the thrall of the fascinating Cleopatra.

Affairs of state call Mark Antony to Rome, but the attractions of the queen of Egypt prove impossible to resist. From one of history’s greatest love stories Shakespeare builds this magnificent tragedy of the clash between love and duty.

Cleopatra is played by Estelle Kohler, Mark Antony by Ciaran Hinds, Ian Hughes is Octavius Caesar, and David Burke is Domitius Enobarbus.

ACT IScene 1. Mark Antony, together with Octavius Caesar and Lepidus, is one of the three Triumvirs who rule the Roman Empire. But Antony is slavishly in love with Cleopatra, Queen of Egypt, and shows no interest in affairs of state.Scene 2. Members of Cleopatra’s entourage amuse themselves consulting a soothsayer. Antony learns that his wife Fulvia, who has been in rebellion against Caesar, is dead. Forces opposed to the Triumvirs are having considerable success and he finally realizes that he must leave Egypt.Scene 3. Antony tells Cleopatra that he intends to return to Rome.Scene 4. Caesar is angered by Antony’s behavior and will not be mollified by Lepidus. News floods in of their enemies’ growing strength.Scene 5. Cleopatra languishes in Antony’s absence.

ACT IIScene 1. Pompey, the Triumvirs’ principal enemy, is disturbed to hear of Antony’s return to Rome. Menas remains optimistic that the insurrection of Antony’s brother and wife has soured his relations with Caesar, but Pompey foresees that divisions will be forgotten in the face of an external enemy.Scene 2. A tense meeting between Caesar and Antony is smoothed over by Lepidus and Agrippa, who suggest that Antony marry Caesar’s sister Octavia. Enobarbus, Antony’s trusted lieutenant, remembers Antony’s first meeting with Cleopatra; he is sure that Antony will never leave her.Scene 3. A soothsayer tells Antony that he cannot shine with Caesar is near. He decides to return to Egypt.Scene 4. Lepidus, Agrippa, and Maecenas prepare to go to war.Scene 5. When a messenger tells Cleopatra of Antony’s marriage to Octavia, she flies into a violent rage.Scene 6. Pompey invites the Triumvirs to a banquet aboard his galley. Enobarbus predicts Antony’s infidelity to Octavia and that her sighs will “blow the fire up in Caesar.”Scene 7. At the banquet, Menas suggests that Pompey could become master of the world if he were to order the murder of his guests. Pompey rejects the idea, but regrets that Menas has not acted on his own initiative.

ACT IIScene 1. In Syria, Ventidius enters triumphant with the body of the son of the Parthian king. Ventidius plays down his achievement, wary of losing Antony’s favor by raising himself up too high.Scene 2. Enobarbus and Agrippa ridicule Lepidus’ devotion to Antony and Caesar. Octavia bids Caesar a sad farewell as she leaves for Athens with Antony.Scene 3. Cleopatra questions a messenger about Octavia and concludes that, being “dull of tongue, and dwarfish,” she is no threat.Scene 4. Antony is furious that Caesar has spoken slightingly of him and, contrary to their agreement, has gone to war against Pompey. Octavia will return to Rome in an attempt to reconcile her brother and husband.Scene 5. Caesar has imprisoned Lepidus for allegedly communicating with Pompey. Scene 6. Caesar rails against Antony’s division of the Eastern provinces among Cleopatra and her children. Octavia seeks to defend her husband, but Caesar informs her that he is now in Egypt with Cleopatra, who is levying forces for war.Scene 7. Despite strong advice to the contrary, Antony insists on a naval battle rather than fighting on land where he has the advantage.Scene 8. Caesar gives the order to meet Antony at sea.Scene 9. Antony positions his squadrons within view of Caesar’s battle line.Scene 10. Enobarbus, Scarus, and Canidius watch appalled as Cleopatra’s ships flee, followed by Antony. Canidius decides to join forces with Caesar, whilst Enobarbus, against his better judgement, remains with Antony.Scene 11. Back in Alexandria, Antony is riven with shame. Cleopatra claims she had not thought he would follow when she retreated. He replies, “thou knew’st too well/My heart was to thy rudder tied by the strings.”Scene 12. Caesar rejects Antony’s terms for surrender, but shows clemency to Cleopatra on condition that she betray her lover.Scene 13. Antony rages against Caesar, challenging him to single combat. Only Cleopatra’s assurance of her love finally calms him. Believing that Antony has lost his reason, Enobarbus resolves to leave him.

ACT IVScene 1. Caesar rejects Antony’s challenge and gives the order to do battle the next mornign.Scene 2. Enobarbus reproaches Antony for his melancholy words.Scene 3. Full of trepidation, soldiers gather for the battle.Scene 4. Antony prepares for battle.Scene 5. Antony hears that Enobarbus has gone.Scene 6. When Enobarbus learns that Antony has sent his treasure after him, he is struck to the heart that he has deserted a man of such nobility.Scene 7. The battle goes in Antony’s favor.Scene 8. Antony, jubilant with success, meets Cleopatra after the first day’s fighting.Scene 9. Enobarbus dies heartbroken.Scene 10. Scarus tells Antony that Caesar will attack by land and sea.Scene 11. Caesar gives orders for the battle.Scene 12. Antony loses the battle when the Egyptians desert him. He rejects Cleopatra bitterly.Scene 13. Cleopatra, frightened by Antony’s rage, hides in her monument and sends word that she has killed herself.Scene 14. When he hears of Cleopatra’s alleged death, Antony falls on his sword.Scene 15. Antony is carried to Cleopatra and dies.

ACT VScene 1. When Caesar hears of Antony’s death, he dispatches an ambassador to Cleopatra.Scene 2. Dolabella tells Cleopatra that Caesar intends to lead her in triumph through Rome. Caesar treats Cleopatra with courtesy, though he warns her against attempting suidice. Horrified at the thought of being exhibited in front of the Roman rabble, Cleopatra announces that she will follow Antony’s example and die. A country fellow brings Cleopatra a basket containing poisonous snakes. Crowned and robed as a queen, she clasps the snakes to her bosom and dies. Caesar, now sole ruler of the Roman world, orders that Cleopatra he buried with her Antony.

CASTMark Antony: Ciaran Hinds / Cleopatra: Estelle Kohler / Domitius Enobarbus: David Burke / Octavius Caesar: Ian Hughes / Charmian: Eve Matheson / Iras: Emma Gregory / Lepidus: Trevor Martin / Pompey: Charles Simpson / Octavia: Tracy-Ann Oberman / Eros: John McAndrew / Philo: Steve Hodson / Soothsayer: Arthur Cox / Menecrates: Michael N. Harbour / Menas: Jonathan Tafler / Scarus: Mark Bonnar / Diomedes: Will Keen / Cleopatra’s Messenger: Gary Bakewell / Alexas: Richard Durden / Mardian: Christopher Luscombe / Other parts played by David Bannerman, Sean Baker, Philip Bretherton, Anthony Jackson, Martin Marquez, Nicholas Murchie, Alisdair Simpson, and Stephen Thorne

Director: Clive Brill / Composer: Dominique Le Gendre / Production Coordinators: Polly Coles and Charlotte Harvey / Sound Engineer: Wilfredo Acosta / Producers: Bill Shepherd and Tom Treadwell

TRACK LISTDisc 1Track 1: Act I, Scene iTrack 2: Act I, Scene iiTrack 3: Act I, Scene iiiTrack 4: Act I, Scene ivTrack 5: Act I, Scene vTrack 6: Act II, Scene iTrack 7: Act II, Scene iiTrack 8: Act II, Scene iiiTrack 9: Act II, Scene ivTrack 10: Act II, Scene vTrack 11: Act II, Scene vi

Disc 2Track 1: Act II, Scene viiTrack 2: Act III, Scene iTrack 3: Act III, Scene iiTrack 4: Act III, Scene iiiTrack 5: Act III, Scene ivTrack 6: Act III, Scene vTrack 7: Act III, Scene viTrack 8: Act III, Scene viiTrack 9: Act III, Scene viiiTrack 10: Act III, Scene ixTrack 11: Act III, Scene xTrack 12: Act III, Scene xiTrack 13: Act III, Scene xiiTrack 14: Act III, Scene xiiiTrack 15: Act IV, Scene iTrack 16: Act IV, Scene iiTrack 17: Act IV, Scene iiiTrack 18: Act IV, Scene ivTrack 19: Act IV, Scene vTrack 20: Act IV, Scene vi

Disc 3 Track 1: Act IV, Scene viiTrack 2: Act IV, Scene viiiTrack 3: Act IV, Scene ixTrack 4: Act IV, Scene xTrack 5: Act IV, Scene xiTrack 6: Act IV, Scene xiiTrack 7: Act IV, Scene xiiiTrack 8: Act IV, Scene xivTrack 9: Act IV, Scene xvTrack 10: Act V, Scene iTrack 11: Act V, Scene ii

ACT IScene 1. Orlando, the youngest son of Sir Rowland de Boys, has been kept “rustically at home” by his older brother, Oliver; he has been denied his inheritance and any formal education. When Orlando demands his birthright, the brothers come to blows. Charles the Wrestler describes how the old duke has been banished by his younger brother Frederick and has gone to live in the Forest of Arden. His daughter Rosalind has stayed at court with Celia, Frederick’s daughter. Hearing that Charles and Orlando are to wrestle the following day, Oliver lies to Charles, claiming that Orlando intends, if necessary, to resort to foul play in order to win the fight.Scene 2. The courtier Le Beau urges Rosalind and Celia to watch the wrestling. They try to persuade the youthful Orlando not to fight, but he is determined to go ahead and succeeds in beating Charles. Frederick congratulates the victor but is displeased to learn of his parentage. Le Beau suggest that, the duke being so unpredictable, Orlando would be wise to leave the court. Orlando, who has fallen for the “heavenly Rosalind,” follows his advice.Scene 3. Rosalind is telling Celia of her love for Orlando when Duke Frederick enters and banishes her from the court. Celia insists on accompanying her cousin and they decide to travel in disguise: Rosalind as a youth called Ganymede and Celia as his sister, Aliena. Their sole companion is to be the court fool Touchstone.

ACT IIScene 1. Duke Senior extols the joys of the hard, rustic life. A lord describes the melancholy Jaques’ distress at the brutality of the hunt.Scene 2. Duke Frederick has learnt of the flight of Celia and Rosalind.Scene 3. Orlando is warned by Adam, his father’s aged servant, that Oliver has resolved to murder him. Adam urges Orlando to escape, offering him his savings and his service.Scene 4. Rosalind, Celia, and Touchstone are now in the Forest of Arden, where they overhear Silvius telling the shepherd Corin of his unrequited love for the scornful Phebe. The tired travelers ask for help and decide to buy Corin’s cottage and sheep.Scene 5. Jaques, Amiens, and others sing together.Scene 6. When Adam becomes faint with hunger and exhaustion, Orlando promises to find him food.Scene 7. Jaques eulogizes Touchstone’s wisdom. As the exiled courtiers prepare to eat, Orlando enters brandishing his sword and demanding food. The Duke disarms him by graciously inviting him to eat. Whilst Orlando goes back to fetch Adam, Jaques ponders on the seven stages of life, from infancy to senility. The duke is delighted to learn that Orlando is the son of “the good Sir Rowland.”

ACT IIIScene 1. Duke Frederick commands Oliver to find his missing brother and “bring him dead or living.”Scene 2. Orlando wanders through the forest hanging verses in praise of Rosalind upon the trees. Rosalind derides the clumsy style until she realizes that their author is Orlando. When he arrives with Jaques, Rosalind (dressed as the boy Ganymede) draws him out on the subject of his love. She promises to cure him of his passion if he comes to her daily and woos her as if she were Rosalind.Scene 3. Touchstone proposes to Audrey. Jaques intervenes, persuading them against being married by the ill-educated priest Sir Oliver Mar-Text.Scene 4. Rosalind is devastated that Orlando has not come to woo her as he promised.Scene 5. Silvius woos Phebe ardently, but she rebuffs his advances. When Rosalind accuses the shepherdess of pride Phebe is instantly infatuated with her/Ganymede. She decides to write to Ganymede and Silvius agrees to deliver the letter.

ACT IVScene 1. Rosalind is scornful of Jaques’ melancholy, insisting “I had rather have a fool to make me merry than experience to make me sad.” When Orlando arrives an hour late, she tells him that this is no sign of true love. Once alone with Celia again, she confesses the depth of her passion.Scene 2. Jaques gives the exiled lords a hero’s welcome when they return from the hunt with a deer.Scene 3. Silvius delivers Phebe’s stern letter to Rosalind who pretends not to believe that a woman could have written such words. Oliver enters carrying a bloody cloth and recounts how Orlando saved his life by killing the hungry lioness poised to attack him. The brothers are now reconciled and Oliver has been welcomed by the exiled duke. Rosalind swoons at the sight of the blood.

ACT VScene 1. Touchstone dismisses William, a rival for Audrey’s affections.Scene 2. Oliver and Celia are in love and plan to marry the following day. When Orlando tells Rosalind “how bitter a thing it is to look into happiness through another man’s eyes,” she claims to know a magician who will unite him with his beloved.Scene 3. Touchstone and Audrey are to marry the next day.Scene 4. Rosalind reveals her identity to Orlando and her father, as Hymen, the god of marriage, looks on. All four couples are now to be married. Jaques de Boys, Sir Rowland’s second son, arrives with news of Duke Frederick’s conversion; having met a hermit in the forest, he has resolved to restore the dukedom to his brother and to retire from the world. As the celebrations continue, Jaques the courtier decides to join Frederick in his religious life.

CASTRosalind: Niamh Cusack / Orlando: Stephen Mangan / Jaques: Gerard Murphy / Touchstone: Clarence Smith / Celia: Victoria Hamilton / Silvius: Ian Pepperell / Phebe: Carolyn Backhouse / Duke Senior: Philip Voss / Duke Frederick: Hugh Ross / Oliver: Jonathan Tafler / Audrey: Sarah-Jane Holm / Adam: John Hollis / Amiens: Chook Sibtain / Le Beau: Sean Baker / Corin: Raymond Bowers / Charles the Wrestler: Matthew Morgan / Lord: Mark Lambert / Jaques de Boys: Duncan Bell

Director: Clive Bell / Composer: Dominique Le Gendre / Production coordinators: Polly Coles and Charlotte Harvey / Sound Engineer: Wilfredo Acosta / Producers: Bill Shepherd and Tom Treadwell

TRACK LISTDisc 1Track 1: Act I, Scene iTrack 2: Act I, Scene iiTrack 3: Act I, Scene iiiTrack 4: Act II, Scene iTrack 5: Act II, Scene iiTrack 6: Act II, Scene iiiTrack 7: Act II, Scene ivTrack 8: Act II, Scene vTrack 9: Act II, Scene viTrack 10: Act II, Scene viiTrack 11: Act III, Scene iTrack 12: Act III, Scene ii (up to line 240)

Disc 2Track 1: Act III, Scene ii (from line 241)Track 2: Act III, Scene iiiTrack 3: Act III, Scene ivTrack 4: Act III, Scene vTrack 5: Act IV, Scene iTrack 6: Act IV, Scene iiTrack 7: Act IV, Scene iiiTrack 8: Act V, Scene iTrack 9: Act V, Scene iiTrack 10: Act V, Scene iiiTrack 11: Act V, Scene ivTrack 12: Epilogue

A psychic assassin. A demonic presence. Survival has deadly consequences . . .
After escaping an asylum, Felix drives across three states in search of bloody vengeance. When he arrives, however, he is instead roped into a plot to apprehend a psychic assassin murdering clergy. If he succeeds, Bishop X has promised to write him a blank check. If he fails, death will be the least of his worries.
The assassin, however, is more cunning and deadly than even Felix Cross could have imagined.
Trapped in the assassin’s deadly grip, Felix must win this merciless killer’s trust in order to secure his escape. With each passing day, the body count rises, and Felix’s sanity inches closer to breaking down.
Can Felix escape the assassin’s terrifying trap before it’s too late? Or will he become the latest victim?

Old sins cast long shadows even Death can’t hide from.
It’s been a year since Lazarus went to Hell to free Emma’s soul. With Loki gone, things are finally starting to settle down for the Pale Horseman.
At least until a dangerous supernatural virus forces New Orleans to grind to a halt. With thousands of innocent people infected, Lazarus must find the source and shut it down before it becomes a global pandemic. Just when he thinks he’s got it under control, refugees from Faerie arrive with dire news. If the creature behind the deadly virus isn’t stopped, Earth could be decimated . . . just as Faerie was.
The monster responsible is unlike any Lazarus has faced before, and this is just his opening gambit. But this new foe is about to find out there’s nothing more dangerous than a man without a plan . . .

ACT IScene 1. The common people of Rome, the plebeians, are on the verge of rebellion due to the lack of grain; they blame the partricians–the Roman nobility–for their plight. They are especially bitter toward Caius Marcius, a patrician and a successful soldier, whom they regard as “the chief enemy to the people.” Menenius tries to persuade them that the patricians are acting in their best interests but when Marcius arrives he makes no attempt to disguise his contempt for the plebeians. When news comes that the Volsces have taken up arms against Rome, Marcius receives it with pleasure, believing their leader Tullus Aufidius to be a noble adversary. Sicinius and Brutus, tribunes appointed to represent the interests of the plebeians, discuss Marcius’ overweening pride.Scene 2. Aufidius prepares to go to war against Rome.Scene 3. Marcius’ mother, Volumnia, urges his wife Virgilia to glory in his warlike prowess. Valeria brings news that Marcius is about to attach the Volsces’ city of Corioles.Scene 4. Marcius curses the fainthearted Roman soldiers and urges them on to attack Corioles. When they refuse, he enters the enemy city single-handed. When the Romans see him alone within the walls of Corioles, they rush in to assist him.Scene 5. Marcius is contemptuous of the looting Roman soldiers and, despite his wounds, plunges back into the battle in search of Aufidius.Scene 6. Covered from head to foot in blood, Marcius announces victory at Corioles.Scene 7. Lartius prepares to go to the Roman camp and warns the lieutenant to guard the gates of Corioles well.Scene 8. Marcius and Aufidius fight.Scene 9. Although Marcius refuses all Cominius’ efforts to reward him with booty, the general insists that he accept the name Coriolanus, as tribute to his extraordinary bravery.Scene 10. Aufidius vows to destroy Marcius by any means–honorable or otherwise.

ACT IIScene 1. The tribunes Sicinius and Brutus try to persuade Menenius that Marcius is excessively proud, but he will have none of it, accusing them of ambition and servility. Coriolanus returns to Rome in triumph and is greeted by his wife and mother. Brutus and Sicinius fear that if Coriolanus becomes consul they will be stripped of their power.Scene 2. The Senate has deccided to make Coriolanus consul. With great reluctance he goes, as custom requires, to solicit the citizens’ votes by displaying his battle wounds in the marketplace.Scene 3. Despite the awareness of some plebeians that Coriolanus has little love for the common people they recognize his nobility, and choose him for consul. Once he has gone, however, their unease resurfaces and the tribunes persuade them to revoke their votes.

ACT IIIScene 1. Coriolanus walks through Rome, discussing the news that Aufidius is again preparing to take up arms. When the tribunes warn him to go no further, Coriolanus accuses them of inciting the plebeians against him and asserts that the people did not deserve free distribution of corn because they were unwilling to defend their country in war. Menenius tries to calm him, but Coriolanus continues to rage that “gentry tile, wisdom,/Cannot conclude but by the yea and no/Of general ignorance.” Finally, Brutus orders Coriolanus’ arrest and chaos ensues as the plebeians are exhorted by the tribunes to seize Coriolanus but are beaten back by the senators. When the tribunes demand Coriolanus’ death, Menenius appeases them by saying that he will bring him to the Forum to answer their grievances.Scene 2. Coriolanus refuses to do as Menenius asks, but is eventually persuaded to go to the Forum by his mother Volumnia.Scene 3. Brutus and Sicinius are determined that Coriolanus should be brought down by the people. When he enters the Forum, he cannot contain himself and abuses the plebeians. Sicinius and Brutus announce his banishment from Rome.

ACT IVScene 1. Coriolanus bids a dignified farewell to friends and family.Scene 2. Volumnia rounds angrily on the tribunes.Scene 3. A Roman spy tells a Volsce of Coriolanus banishment.Scene 4. Coriolanus arrives in Antium and learns the whereabouts of Aufidius’ house.Scene 5. Coriolanus presents himself to Aufidius telling his old enemy either to kill him on the spot, or to accept his services in war against Rome. Aufidius welcomes him delightedly.Scene 6. The tribunes and others hear the terrible news that Coriolanus and Aufidius have invaded Roman territories.Scene 7. Aufidius is angered by Coriolanus’ arrogance and his growing popularity with the Volsces.

ACT VScene 1. After Cominius has attempted unsuccessfully to plead with Coriolanus for Rome, Menenius reluctantly agrees to approach his old friend.Scene 2. Coriolanus refuses to speak to Menenius.Scene 3. Volumnia, Virgilia, and her little son approach Coriolanus. Volumnia describes their agony at being torn between their love for Rome and for him. She begs him to negotiate a peace that is honorable to both sides and at last Coriolanus agrees.Scene 4. A messenger brings news that Volumnia has prevailed with Coriolanus.Scene 5. A Senator gives the women a rapturous welcome.Scene 6. Aufidius has returned to Corioles, enraged; he conspires with some of his followers to kill Coriolanus. When Coriolanus explains to the Volsces how he has brokered an honorable peace, Aufidius publicly accuses him of treachery. As the crowd rages against him, Coriolanus is killed by the conspirators.

CASTCoriolanus: Paul Jesson / Menenius: Ewan Hooper / Volumnia: Marjorie Yates / Brutus: Steve Hawthorne / Sicinius: Denys Hawthorne / Aufidius: Martin Marquez / Cominius: Michael N. Harbour / Titus Lartius: Anthony Jackson / Valeria: Shirley Dixon / Virgilia: Sarah Woodward / 1st Senator: Trevor Martin / 2nd Senator: Jamie Glover / 1st Citizen: Michael Higgs / 2nd Citizen: Jonathan Tafler / Corioles Messenger: Mark Bonnar / Corioles: Philip Bretherton / 1st Soldier: Christopher Luscombe / Young Marcius: Freddie Norton

Director: Clive Brill / Composer: Dominique Le Gendre / Production coordinators: Polly Coles and Charlotte Harvey / Sound engineer: Wilfredo Acosta / Producers: Bill Shepherd and Tom Treadwell

TRACK LISTDisc 1Track 1: Act I, Scene iTrack 2: Act I, Scene iiTrack 3: Act I, Scene iiiTrack 4: Act I, Scene ivTrack 5: Act I, Scene vTrack 6: Act I, Scene viTrack 7: Act I, Scene viiTrack 8: Act I, Scene viiiTrack 9: Act I, Scene ixTrack 10: Act I, Scene xTrack 11: Act II, Scene i

Disc 2Track 1: Act II, Scene iiTrack 2: Act II, Scene iiiTrack 3: Act III, Scene iTrack 4: Act III, Scene iiTrack 5: Act III, Scene iii

Disc 3Track 1: Act IV, Scene iTrack 2: Act IV, Scene iiTrack 3: Act IV, Scene iiiTrack 4: Act IV, Scene ivTrack 5: Act IV, Scene vTrack 6: Act IV, Scene viTrack 7: Act IV, Scene viiTrack 8: Act V, Scene iTrack 9: Act V, Scene iiTrack 10: Act V, Scene iiiTrack 11: Act V, Scene ivTrack 12: Act V, Scene vTrack 13: Act V, Scene vi

ACT I Scene 1. Imogen, daughter of King Cymbeline of Britain, has angered father by marrying Posthumus. Cymbeline himself reared the orphaned Posthumus, his own two sons having been abducted in infancy. The wicked queen (whose son Cloten was Cymbeline’s preferred match for Imogen) pretends kindness to the young couple. Before Posthumus leaves for exile in Rome, Imogen gives him a ring, receiving in return a bracelet.Scene 2. Cloten’s attendants ridicule him.Scene 3. Pisanio, Posthumus’ servant, tells Imogen of his master’s departure.Scene 4. Posthumus meets Iachimo in Rome. When Posthumus extols Imogen’s virtue, Iachimo wagers him ten thousand ducats to his diamond ring that he can persuade her to commit adultery. Posthumus accepts the wager. Scene 5. The doctor, Cornelius, is suspicious when the queen gathers poisonous plants. He reveals privately that what she believes to be a fatal poison is in fact a sleeping draught. The queen tries unsuccessfully to turn Pisanio against Posthumus and gives him the poison, claiming that it is a life-saving remedy. Pisanio spurns the queen, disbelieving her.Scene 6. Iachimo comes to see Imogen, bringing a letter of introduction from Posthumus. Realizing that he can only win the wager by resorting to subterfuge, he claims that Posthumus has been unfaithful, suggesting that she avenge herself by becoming his lover. When she reacts with revulsion, he assures her that he was merely testing her devotion. She then agrees to his request to leave a trunk of valuables in her chamber overnight for safekeeping.

ACT IIScene 1. Cloten wants to meet Iachimo. Scene 2. While Imogen sleeps, Iachimo creeps from the trunk. He carefully notes details of her chamber and person and then eases Posthumus’s bracelet from her arm. Scene 3. When Cloten tries to woo Imogen she dismisses him impatiently. She asks Pisanio to find her missing bracelet.Scene 4. Iachimo uses his observations of Imogen, and her bracelet, to convince Posthumus that he has slept with her. Posthumus vows revenge.

ACT IIIScene 1. Cymbeline refuses to pay a tribute to Caesar, and Rome declares war on Britain. We learn that Cymbeline had fond associations with Rome and Caesar in his youth. Scene 2. Posthumus writes to Pisanio ordering to kill Imogen. Pisanio refuses to believe her unfaithful. In order to help Pisanio in his task, Posthumus tells Imogen to meet him at Milford Haven. Scene 3. Belarius, unjustly banished by Cymbeline, abducted his sons Guiderius and Arviragus, and lives with them in a remote Welsh cave. The young men, unaware of their provenance, are frustrated by their isolated life.Scene 4. As Imogen and Pisanio approach Milford he shows her Posthumus’ letter. She begs him “Do his bidding strike!” Pisanio convinces her that she should report her death to Posthumus; she meanwhile must dress as a man and seek the protection of Lucius, a noble Roman. Before they part, Pisanio gives Imogen the Queen’s potion, as a remedy for sickness.Scene 5. Imogen is missing from the court. The Queen privately hopes that she is either dead or exiled and that “She being down,/I have the placing of the British crown.” Believing Imogen well on her way to Rome, Pisanio tells Cloten that she has gone to Milford and gives him a suit of Posthumus’ clothes. Cloten plots his revenge, intending to kill Posthumus and ravish Imogen. Scene 6. When Imogen arrives exhausted at Belarius’s cave, she is welcomed with food and shelter. She calls herself Fidele.Scene 7. Romans discuss the war with Britain (War conference).

ACT IVScene 1. Cloten draws near to Milford, gloating about the horrible punishments he will deal out.Scene 2. Pleading sickness, Imogen remains in the cave whilst her hosts go hunting. She takes Pisanio’s drug. Belarius sees Cloten and fears that they have been discovered. Guiderius beheads Cloten. The brothers find Imogen/Fidele apparently dead, and lay her tenderly in grave. When Imogen awakens, she sees Cloten’s decapitated body in Posthumus’s clothes and assumes her husband has been killed. Lucius comes upon Imogen/Fidele and takes her under his protection.Scene 3. Cymbeline wonders where Imogen and Cloten have gone, and questions Pisanio. Pisanio denies knowledge and swears loyalty to the king.Scene 4. Belarius wants to flee the area, but his adopted sons are eager to fight the Romans.

ACT VScene 1. Posthumus, having returned to Britain with the Romans is devastated to learn from Pisanio of Imogen’s death. He dresses as a peasant and resolves to fight for his country.Scene 2. Iachimo reveals his guilt at having wronged Imogen.Scene 3. Posthumus describes how three men (Belarius, Guiderius, and Arvirigus) heroically saved the flagging Briton Army. Posthumus, again disguised as a Roman, is arrested.Scene 4. Posthumus willingly embraces imprisonment. He awakens from a vision to find a written prophecy that both his and Britain’s miseries will end.Scene 5. Cymbeline knights Belarius, Arvirigus, and Guiderius, but regrets the disappearance of an outstandingly valiant unknown soldier (who is in fact Posthumus). The queen has died, confessing her misdeeds. The prisoners Fidele/Imogen, Posthumus, Lucius, and Iachimo, are brought to Cymbeline. Lucius begs clemency for Fidele/Imogen and Cymbeline agrees. Fidele/Imogen demands that Iachimo explain where he found the diamond ring he wears; this he does. Heartbroken, Posthumus steps forward, thrusting the disguised Imogen away when she tries to intervene. Pisanio comes to her aid and she accuses him of poisoning her. Cornelius, however, interposes in his defense. Thus, Belarius, Guiderius, and Arvirigus, who are amazed at Fidele’s apparent return from the dead, understand all. Guiderius admits to the slaying of Cloten and is arrested by Cymbeline. Belarius then reveals both his own and his adoptive son’s true identities. Posthumus forgives Iachimo freely. Amidst the general rejoicing, Cymbeline announces that he will pay tribute to Caesar, thus restoring peace between Britain and Rome.

CASTCymbeline: Jack Shepherd / Imogen: Sophie Thompson / Posthumus: Ben Porter / Belarius: Stephen Moore / Iachimo: Ron Cook / Cloten: Stephen Mangan / Queen: Suzanne Bertish / Arviragus: Ian Hughes / Guiderius: Will Keen / Pisanio: James Greene / Philario: Charlie Woods / Soothsayer: Max Bonamy / Senator: Rupert Mason / Lady: Annabel Capper / Messenger: James Reynard / Jailer: Julius Barnett

Director: Clive Brill / Composer: Dominique Le Gendre / Production coordinators: Polly Coles and Charlotte Harvey / Sound Engineer: Wilfredo Acosta / Producers: Bill Shepherd and Tom Treadwell

TRACK LISTDisc 1Track 1: Act I, Scene iTrack 2: Act I, Scene iiTrack 3: Act I, Scene iiiTrack 4: Act I, Scene ivTrack 5: Act I, Scene vTrack 6: Act I, Scene viTrack 7: Act II, Scene iTrack 8: Act II, Scene iiTrack 9: Act II, Scene iiiTrack 10: Act II, Scene iv

Disc 2Track 1: Act II, Scene vTrack 2: Act III, Scene iTrack 3: Act III, Scene iiTrack 4: Act III, Scene iiiTrack 5: Act III, Scene ivTrack 6: Act III, Scene vTrack 7: Act III, Scene viTrack 8: Act III, Scene viiTrack 9: Act IV, Scene iTrack 10: Act IV, Scene ii

Disc 3Track 1: Act IV, Scene iiiTrack 2: Act IV, Scene ivTrack 3: Act V, Scene iTrack 4: Act V, Scene iiTrack 5: Act V, Scene iiiTrack 6: Act V, Scene ivTrack 7: Act V, Scene v

A storm is coming, and Lazarus is the only one who can stop it.
Summer in New Orleans means hot days, humid nights, and the constant threat of hurricanes. Like most people in the Big Easy, Laz has weathered his fair share of storms, but the city is about to get hit by the biggest hurricane in recorded history, a hurricane with a supernatural source.
As the people around him prepare to evacuate, Laz is pulled into a game of cat and mouse with the Norse god, Loki. To survive, he’ll have to work with old enemies and make a few new friends. To win, he’ll have to beat the trickster god at his own game.
Even if he somehow survives Loki’s traps, he’s got the hurricane to deal with and the monster behind it, one not even gods know how to stop. Laz has always been good at thinking outside the box, but how do you tame a hurricane?

There’s a new necromancer in town, and he wants to take out the competition. Permanently.
Nothing says New Orleans more than Mardi Gras. Parades, booze, beads, and missing people turning into zombies. Zombies only another necromancer could have created. Taking him out should be no problem for the Pale Horseman, except this one seems to know everything about Laz’s life, maybe even better than he knows himself.
Nothing is sacred to a psychotic killer armed with necromancy, including Lazarus’ family. Pulled into a deadly game of cat and mouse with a deranged killer, Laz must choose between becoming what he fears most or handing his life over to a madman. One with a disturbingly familiar face . . .

Gods run when a Horseman goes to war.
Since being drafted into a position as the Pale Horseman, Lazarus Kerrigan has killed his fair share of gods and monsters. In New Orleans, a city steeped in voodoo and the supernatural, that’s saying something.
But when someone else starts killing gods in his city, he takes it personally. His search for the killer leads him to a deadly no holds barred tournament run by the gods themselves. The prize? The right to name the next Black Horseman, Famine. To find the killer, he’ll have to enter the tournament and fight gods, monsters, and other Horsemen, eliminating his suspects one by one.
May the best Horseman win.

Hell hath no fury like a Horseman scorned.
They say the road to Hell is paved with good intentions. For Lazarus Kerrigan, that couldn’t be further from the truth. He’s got no intention of playing nice once he gets there, not with Emma’s soul on the line.
To free her, he’ll have to travel through not one Hell, but seven, cutting deals with ghosts, Titans, and gods who would rather crush the Pale Horseman than help him.
Opening that many doors to the underworld is a dangerous plan, one that will require him to call in every favor. It still might not be enough to help him get there in time, since he’s got only seven days before death’s door slams shut to him forever.
Time to raise a little Hell.

Parting with God’s Hand might mean the foul-mouthed half-angel has to lie low, but he’s still got to pay the rent.

Will Josiah Quinn be able to do that if he hunts bounties no one else will accept? Yes, as long as he can stay alive.

When a vampire hunt goes terribly wrong, Stefan is left clinging to life by a thread.

Will Josiah betray the only friend he has left in the world to save the man he loves?

Or will he sacrifice Stefan for the army he needs to defeat his father once and for all?

Devil’s Due is the third book in the Hellbent Halo series, which features an irreverent bisexual wizard, evil angels, and double-crossing demons. If you like back-alley magic and noir-style anti-heroes, you’ll love this bloody good mystery.

The City of Angels holds a world of nightmares for irreverent wizard Josiah Quinn. Not even the end of the world could convince him to visit. But when his estranged daughter Maggie goes missing, he’s on the first flight there to track her down. As he tries to pull together the threads of Maggie’s life, Josiah uncovers a disturbing trend: sex, drugs, and dangerous magic. Maggie was walking an all too familiar path toward destruction. And now she’s gone. To find her, Josiah must navigate an unfamiliar underworld and face an old enemy he thought he left for dead twenty years ago. With Remiel on the loose, the clock is ticking. Can he find his missing daughter before the Fallen do? Or is he already too late?

Rogue wizard Josiah Quinn never met a rule he wouldn’t break. Even though he knows he’ll face plenty of backlash from both good and evil, he braves the fires of Hell to spring Satan’s captive daughter. But before they return to their lives, he’s got to track down the missing pieces of her soul…

As he attempts to unite the fragmented spirit of the succubus by his side, Josiah has one little problem: a power-hungry wizard aiming to rule the underworld. And since that handsome devil also happens to be his old flame, fighting to protect millions of innocent lives is like battling his own heart.

With New York City in the crossfire, can Josiah pull off the impossible before all Hell breaks loose?

ACT IScene 1. The ghost of Old Hamlet, King of Denmark, has appeared to officers guarding the castle of Elsinore. When the apparition is witnessed by Horatio, friend of the Dead King’s son, he fears that it portends ill. He decides to tell young Hamlet, hoping that the ghost might reveal to him the cause of its restlessness.Scene 2. The dead king’s brother, Claudius, has assumed the crown and married the widowed Queen Gertrude. He dispatches emissaries to Norway where the king’s nephew Fortinbras is threatening Denmark with war. The King and Queen urge young Hamlet to cast off his dark mood. Once alone, the prince vents his violent grief at his father’s death and outrage at his mother’s “incestuous” remarriage. Wen Horatio tells Hamlet about the ghost, he too suspects foul play.Scene 3. Laertes warns his sister, Ophelia, not to take seriously Hamlet’s attentions because, being a prince, he is not free to make his own choices in matters of love. Scene 4. Hamlet and Horatio meet on the battlements. The ghost appears and beckons to Hamlet to follow him. Scene 5. The ghost describes to Hamlet how it was murdered by Claudius. It urges him to revenge the crime.

ACT II Scene 1. Polonius, a garrulous counsellor and father to Ophelia and Laertes, instructs Reynaldo to investigate the kind of life Laertes is leading in Paris. Ophelia describes Hamlet’s bizarre behavior to Polonius who attributes this to her recent rejection of him. Scene 2. The King and Queen ask Rosencrantz and Guildenstern, old friends of Hamlet, to discover the cause of the prince’s erratic behavior. The King of Norway has stopped Fortinbras’ preparations for war against Denmark. Polonius takes Hamlet’s scathing and capricious wit as proof of his insanity. Hamlet greets Rosencrantz and Guildenstern warmly, but becomes suspicious of their motives. He is, however, pleased to hear that a company of players has arrived at Elsinore. Once alone, he berates himself for his failure to undertake his revenge. He plans to have the players enact King Hamlet’s murder and to observe Claudius’ reaction as a way of ascertaining his guilt.

Act III Scene 1. Rosencrantz and Guildenstern have failed to uncover the reason for Hamlet’s behavior. Hamlet shocks Ophelia with his crude and bitter contempt for women and marriage. Their conversation is overheard by Claudius, who recognizes that it is not thwarted love that is responsible for Hamlet’s dangerous instability. He resolves to send him on a diplomatic mission to England to get him away from the court. Polonius suggests that Gertrude should persuade Hamlet to confide in her; he himself will eavesdrop on their conversation. Scene 2. Hamlet tells Horatio to watch Claudius during the play for signs of guilt. As a murder identical to that of King Hamlet is enacted, Claudius rises in fright and calls for lights, thus ending the performance. Hamlet is summoned to his mother’s closet and vows to “speak daggers to her, but use none.” Scene 3. Claudius orders Rosencrantz and Guildenstern to accompany Hamlet to England. Once alone he expresses agony at his dreadful crime. Hamlet comes upon him trying to pray, but desists from killing him on the grounds that, were Claudius to die in prayer, his soul might go to heaven rather than hell. Scene 4. Hamlet harangues Gertrude so violently that she cries out for help. Polonius responds from his hiding place and Hamlet, believing him to be Claudius, stabs through the arras, killing him. He then continues his furious indictment of Gertrude, until the ghost enters, reminding him of his mission. Having implored his mother to repent, he drags away Polonius’ body.

ACT IV Scene 1. Gertrude is now convinced of Hamlet’s madness and Claudius is determined that he should leave for England immediately. Scene 2. Rosencrantz and Guildenstern beg Hamlet to reveal the whereabouts of Polonius’ corpse. Scene 3. Hamlet speaks wildly, but when Claudius tells him he must set out for England immediately, he agrees. Left alone, Claudius confesses that he has plotted Hamlet’s death. Scene 4. Fortinbras is marching with his army to do battle over an unimportant piece of land. Hamlet compares his own wrongs, still unavenged, and resolves to take action at last. Scene 5. Ophelia, deranged with grief at her father’s death, comes to Claudius and Gertrude, singing distractedly. Laertes arrives, hot to avenge Polonius’ murder. Scene 6. Horatio receives a letter from Hamlet saying that he has been captured by pirates on his way to England and that they have returned him to Denmark. Scene 7. Claudius tells Laertes that he cannot punish Hamlet for Polonius’ murder because he is loved both by Gertrude and the people of Denmark. He persuades Laertes to wait until an “accidental” death can be arranged for Hamlet; a fencing match will be organized and the tip of Laertes’ sword will be dipped in poison. Gertrude announces that Ophelia has drowned herself.

ACT V Scene 1. A grave is being dug. Hamlet and Horatio arrive, and Hamlet jests with the gravedigger. The grave is Ophelia’s, and when her funeral procession arrives, Laertes jumps into the grave to bid his sister a last farewell, Hamlet follows, claiming that his love for Ophelia was greater than her brother’s; they fight. Claudius urges Laertes to bide his time patiently. Scene 2. Hamlet tells Horatio how, en route for England, he discovered Claudius’ plot to have him killed. Having forged an order for the deaths of Rosencrantz and Guildenstern, he escaped. Osric, a courtier, tells Hamlet of the proposed fencing match with Laertes; Hamlet agrees to take part. The match begins. Gertrude drinks poisoned wine meant by Claudius for Hamlet, should Laertes’ sword fail to kill him. Hamlet is wounded by the poisoned sword which, in the course of the scuffle, comes to his own hand; he wounds Laertes with it. Dying, Laertes confesses the plot. Hamlet stabs Claudius fatally with the poisoned sword, then dies, naming Fortinbras as his successor. Fortinbras arrives, claims the crown of Denmark, and orders a soldier’s funeral for Hamlet.

CASTHamlet: Simon Russell Beale / Ophelia: Imogen Stubbs / Gertrude: Jane Lapotaire / Claudius: Bob Peck / Polonius: Norman Rodway / Ghost, Gravedigger: Paul Jesson / Horatio: Alan Cox / Laertes: Damian Lewis / Rosencrantz: John McAndrew / Guildenstern: Clarence Smith / Player King: Clifford Rose / Fortinbras: Chook Sibtain / Marcellus, Osric: Nicholas Rowe / Cornelius, Reynaldo: Alex Boyd-Williams / Prologue, Lucianus, Doctor: Nicholas Murchie / Player Queen: Steven O’Neill / Bernardo: Alan Westaway / Francisco: Alex McSweeney / Voltemand: Nick Monu

Director: Clive Brill / Composer: Dominique Le Gendre / Production coordinators: Polly Coles and Charlotte Harvey / Sound engineer: Wilfredo Acosta / Producers: Bill Shepherd and Tom Treadwell

TRACK LISTDisc 1Track 1: Act I, Scene iTrack 2: Act I, Scene iiTrack 3: Act I, Scene iiiTrack 4: Act I, Scene ivTrack 5: Act I, Scene vTrack 6: Act II, Scene iTrack 7: Act II, Scene ii (up to line 85)

Disc 2Track 1: Act II, Scene ii (from line 85)Track 2: Act III, Scene iTrack 3: Act III, Scene iiTrack 4: Act III, Scene iiiTrack 5: Act III, Scene iv

Disc 3Track 1: Act IV, Scene iTrack 2: Act IV, Scene iiTrack 3: Act IV, Scene iiiTrack 4: Act IV, Scene ivTrack 5: Act IV, Scene vTrack 6: Act IV, Scene viTrack 7: Act IV, Scene viiTrack 8: Act V, Scene iTrack 9: Act V, Scene ii

Without the protection of his guardian angel, Josiah’s body is deteriorating. Remiel is on the cusp of victory in Hell, and Heaven is divided. The irreverent half-angel’s only hope of saving himself and all of humanity rests in finding God before it’s too late. But since when has he ever given a damn about saving the world? No, this is personal, and Josiah will stop at nothing to find God, even if it means going alone. He’ll crisscross the globe and leave no stone unturned in his search. Nowhere is safe, no one too sacred to interrogate. Not even the dead. Yet the closer he gets, the faster his body fails. Can Josiah Quinn pull off one more miracle and survive just long enough to give Heaven hell one last time?

Prince Hal parts from his past to fulfill his royal destiny in this essential conclusion to Henry IV, Part 1.

Rebellion still simmers in England and King Henry’s health is failing. Prince Hal has proved his courage but the king still fears that his son’s pleasure-loving nature will bring the realm to ruin. Meanwhile, Falstaff and his ribald companions waste the nights in revelry, anticipating the moment when Hal will ascend the throne. Falstaff is in Gloucestershire when news arrives that the king has died. Has the dissolute old knight’s hour come at last?

Hal is played by Jamie Glover and King Henry by Julian Glover. Richard Griffiths is Falstaff.

King John of England is pitted against the united powers of France, Brittany, Austria, and the Papacy. Will England be destroyed by his fatal indecision?

As alliances are made, broken, and remade, the paranoid and erratic John reveals his weakness and reliance on those around him–including his powerful mother Queen Elinor and Faulconbridge, the cynical and witty bastard son of the dead King Richard I.

In this early history play, King John is played by Michael Feast, the Bastard by Michael Maloney, and Constance by Eileen Atkins.

Hunting ghouls bites.
Literally, as Lazarus found out on his last job. Now, to keep from turning into a ghoul himself, he has no choice but to wait in Faerie while his friends work on a cure. Lucky for Laz, he’s got friends in high places inside the Summer Court.
Laz is barely settled in when he’s caught up in an assassination plot against the Summer Princess, who just happens to be his ex-girlfriend. With the Summer Knight injured, who better to step in and take his place protecting the royal family than Lazarus himself?
In a land with no death, however, the Pale Horseman finds himself at an extreme disadvantage. With his powers limited, and the clock ticking as the ghoul virus ravages his body, Laz had better find the assassins and cure himself fast, or he’s dead meat.

Dying is easy. Coming back is the hard part.
After shattering his soul during a spell, Lazarus has just six days to find the pieces and put them back together. Not an easy task when every reaper in the underworld is gunning to claim his soul, including the reaper king, Thanatos.
To reclaim the lost fragments of his soul, he’ll have to face old enemies, travel to Faerie to battle his most fearsome foe yet, and acquire a vast sum of sugary snack cakes. If he fails, more than his own life is on the line. Mask is amassing an army to retake Earth and snuff out all life forever.
Can Lazarus pull himself together in time to save the world one more time?

Sinister supernatural forces are at work in this fast-paced tragedy of guilt and retribution, in which the power of human beings to control their own destiny is called into question.

The brave warrior Macbeth allows himself to be persuaded by Lady Macbeth, his wife, to slay good King Duncan and seize the throne of Scotland for himself. Macbeth achieves his ambition, but one murder proves not to be enough as he desperately attempts to eliminate all who might threaten his ill-gotten power. Descending into paranoia, Macbeth achieves his ambition but ravages his soul.

Macbeth and Lady Macbeth are played by Hugh Ross and Harriet Walter.

Young Claudio has fallen for the lovely heiress Hero, who also loves him. Their path to the altar looks smooth, until the evil Don John intervenes.

All ends happily, thanks to his incompetent assassins and the lucky discoveries of the bungling constable Dogberry. Central to the play, one of Shakespeare’s best-loved comedies, are Beatrice and Benedick, masters of wit and sworn foes to marriage–until a plot is hatched to bring them together.

Beatrice is played by Saskia Reeves, while Samuel West plays Benedick. Paul Jesson is Don Pedro, Jason O’Mara is Claudio, and Abigail Docherty is Hero. Dogberry is played by Bryan Pringle.

Living nightmares. Dead relatives. And one really awkward turkey dinner . . .
After an exhausting trek through seven hells, all Lazarus wants is to kick back and relax through the holidays. Unfortunately, the supernatural has other plans.
Three murder-suicides in as many weeks has New Orleans on edge. The killers? All family men, loving fathers, and wizards. Two is a coincidence, but three is a pattern Lazarus can’t ignore, especially since he fits the profile. Something is driving these men insane and making them murder their beloved families. Something that strikes only at night and leaves only nightmares behind.
If Lazarus doesn’t find whatever is behind these strange deaths and soon, his family might be next on the menu.

No guts, no glory.
Being one of the four horsemen sucks. The hours are long, the pay is crap, and every god or monster you meet wants to kill you.
For Lazarus Kerrigan, professional necromancer, even helping the police search for some missing internal organs is a welcome relief. That is, until his ex-girlfriend shows up in the employ of an ancient Egyptian deity, and a faerie queen makes him an offer he can’t refuse.
When Laz finds himself pulled into a criminal underworld where human souls are traded like currency, things just go from bad to worse. Unfortunately, his soul might just be worth its weight in gold.

This great tragedy confronts the mystery at the heart of evil and contains some of Shakespeare’s most magnificent dramatic verse.

Othello, a Moorish general in the service of Venice, has married Desdemona, beautiful daughter of a Venetian senator. But Iago, Othello’s malignant ensign, is determined to destroy their happiness. Cunningly bending Othello to his own purposes, Iago persuades the Moor that Desdemona is unfaithful to him. Tormented in a hell of jealousy, Othello moves inexorably toward the destruction of his innocent wife and himself.

Othello is played by Don Warrington, David Threlfall is Iago, Anne-Marie Duff is Desdemona, and Jasper Britton plays Cassio.

Pericles, Prince of Tyre, undergoes a tyrant’s fury, storm, and shipwreck. He wins love and suffers loss, but what is lost may also be found.

With the ancient poet Gower acting as narrator, we follow the adventures of Pericles from young manhood to maturity. This strange and powerful tale of loss and recovery is the first in the group of romance comedies created by Shakespeare at the end of his dramatic career.

Sir John Gielgud plays Gower, and Nigel Terry is Pericles. Thaisa is played by Stella Gonet and Marina by Julie Cox.

His salvation rests in exorcising the demons of her past.

Felix Cross is no stranger to demons. He’s traveled the globe, studying under the world’s most foremost demonologists and exorcists with one goal: open a door to Hell to retrieve the soul of an innocent man.
After he’s hired to perform an exorcism on Raina Hemlock, a Kentucky senator’s daughter, Felix may have found what he needs. The possessed girl claims to have been to Hell and back . . . literally. Now all he has to do is interrogate the demon before it destroys the girl he was hired to save.
Yet not all is as it seems in the Hemlock household. A dark presence hovers over the house, one with a fondness for violence and blood.
Is Raina’s possession the true evil in the Hemlock house? Or is something even more sinister lurking in the mansion’s forbidden rooms?

Dead men tell no tales . . . Unless you’re a necromancer. Then they never shut up.
Life is finally going right for Lazarus Kerrigan, necromancer and Pale Horseman. Business is booming, and no gods have tried to kill him for a whole month. But the past is catching up to him.
There’s a serial killer on the loose in New Orleans, one that targets children and leaves behind only bones. When the case develops eerie similarities to his sister’s murder, Laz knows the police are in over their heads. They need help, and the dead aren’t talking.
Well, except for the ghost of a two-hundred-year-old pirate, and Laz doesn’t like what he has to say. If he’s right, the creature Laz is chasing is a monster way out of his league. If he’s not careful, Laz might just end up in Davey Jones’s Locker, or worse . . .

Working for Heaven is a living Hell for rogue wizard Josiah Quinn.

There are too many rules and not enough easy cash. His first official assignment from the God Squad? Solve a string of brutal murders that he believes are part of an intricate and all-too-familiar summoning ritual involving broken mirrors.

His investigation leads him to the front door of Stefan Nikolaides, the one and only living Oracle in North America. What Josiah learns from Stefan’s terrifying visions sends him deep into the underworld of the Greek mafia, where satyrs call the shots and cut deals behind locked doors using the only currency that matters: human souls.

Are the mobsters involved in the ritual summoning? Or is it all smoke and mirrors, distracting Josiah from the real monster–one a little closer to home…

In Shakespeare’s most controversial play, the opposing values of justice and mercy must be resolved. Antonio promises money to help his friend Bassanio woo Portia. He borrows the sum needed from the cruel Shylock, but there will be a dreadful penalty if the loan is not repaid.

The golden world of Portia’s Belmont calls forth some of Shakespeare’s most lyrical love poetry. But the dark shadow of Shylock is never far from the heart of this brilliant comedy as it moves toward its courtroom climax.

Portia is played by Hadyn Gwynne and Shylock by Trevor Peacock. Julian Rhind-Tutt is Bassanio, and Bill Nighy is Antonio.

Love and wit conquer all in Shakespeare’s sparkling comedy of self-delusion and disguise.

Padua holds many suitors for the hand of fair Bianca, but Bianca may not be married until her spinster sister, Kate, is wed. Could any man be rash enough to take on Kate?

The witty adventurer Petruchio undertakes the task. While he sets about transforming Kate from foul-tempered termagant to loving wife, young Lucentio and his clever servant, Tranio, plot to win Bianca.

Frances Barber and Roger Allam are Kate and Petruchio. Lucentio is played by Alan Cox.

Proteus loves Julia in Verona, Valentine loves Silvia in Milan. But when Proteus meets Silvia, he falls for her too, and the heartbroken Julia sets out in pursuit.

This delightful and sometimes disquieting early comedy of love lost and found offers lyrical poetry, disguise, clowning, outlaws, and a most unreliable dog.

Proteus is played by Michael Maloney and Valentine by Damian Lewis. Silvia is Saskia Wickham, Julia is Lucy Robinson, and John Woodvine plays Launce.

King Leontes of Sicilia is seized by sudden and terrible jealousy of his wife Hermione, whom he accuses of adultery. He believes the child Hermione is bearing was fathered by his friend Polixenes, and when the baby girl is born he orders her to be taken to some wild place and left to die. Though Hermione’s child escapes death, Leontes’ cruelty has terrible consequences. Loss paves the way for reunion, and life and hope are born out of desolation and despair.

One of the late romances in Shakespeare’s canon, this complex work is at times tragic, at times humorous, but always entertaining and enlightening.

Sinead Cusack plays Hermione, and Ciaran Hinda plays Leontes. Eileen Atkins is Paulina and Paul Jesson is Polixenes. Time the Chorus is played by Sir John Gielgud.

This controversial play follows the declining fortunes of a man of extravagant contradictions.

The fabulously rich Timon believes all his friends to be as open-hearted and generous as himself. When his wealth suddenly evaporates, however, he discovers the truth and his altruism turns to a bitter hatred of mankind. Stirred up by the cynical Apemantus, Timon retreats to the woods where he plots the destruction of Athens, the city that had formerly seemed to embody everything pleasurable and civilized. The cosmic scope of his hatred is communicated in a series of powerful and disturbing dramatic tableaux.

Alan Howard is Timon and Norman Rodway is Apemantus. Damian Lewis play Alcibiades.

The noble Titus returns victorious to Rome bringing Tamora, Queen of the Goths as his captive. When one of Tamora’s sons is condemned to die, she vows revenge, and, aided by the villainous Aaron, she exacts a terrible retribution, inaugurating a grim cycle of rape, murder, and cannibalism. This macabre, often brilliant tragedy comes from the earliest stage of Shakespeare’s dramatic career.

Titus is played by David Troughton and Tamora by Harriet Walter. Paterson Joseph is Aaron, and David Burke is Marcus.

Shakespeare’s most sophisticated comedy is a riotous tale of hopelessly unrequited passions and mistaken identity. Duke Orsino is in love with the noblewoman Olivia. She, however, has fallen for his servant Cesario, who is actually Viola, a woman disguised as a man, who loves Orsino: confusion is rife. Meanwhile, Olivia’s arrogant steward Malvolio is cruelly tricked by her uncle Sir Toby Belch, his friend Sir Andrew Aguecheek, and the maidservant Maria into believing his mistress loves him.

Niamh Cusack is Viola, Jonathan Firth is Orsino, Amanda Root plays Olivia, Dinsdale Landen plays Sir Toby Belch, and Julian Glover is Malvolio.

Deck the halls with eldritch monsters . . .
The holidays have been anything but relaxing for Lazarus Kerrigan. Between planning a wedding and selling his house, he’s barely had a moment to think about the supernatural.
When strange, Christmas-themed monsters begin attacking him in the open, it’s time for the gloves to come off. Mask is making his move. Lazarus and company are determined to take the fight to him.
A battle with Mask means traveling back to the Nightlands, reading from a cursed book, and using a spell that could destroy reality as we know it. To pull it all off, he’ll need help from an unlikely source, a detective with questionable origins himself.
One thing’s for sure. They’re in for anything but a silent night.

Something sinister wanders the halls of the asylum, and there’s a method to its madness.

Plagued by visions, nightmares, and voices, Felix checks himself into a psychiatric institution, hoping to find a cure.
When fellow patients begin to disappear, Felix suspects the staff is up to something unsavory. Yet no one remembers the missing patients. Not the doctors and nurses, not their families, not even the other patients.
As Felix digs deeper, he discovers a terrifying link between his past and the asylum, one that will challenge everything he thinks he knows about his mentor and himself . . .
To have a chance of exposing an even greater evil, Felix must survive being trapped on a locked ward at the mercy of a murderous psychopath and hungry ghosts. If he fails, the truth will die with him and an even more powerful evil will be free to do as it pleases, one that will reshape the very future of humanity.