Joyriders is about four Belfast teenagers on a youth training scheme in their devastated city. In charge of them is a conscience-torn supervisor trying to reconcile her middle-class domestic comforts with the dereliction and disorder of the notorious Divis Flats. Gradually class and culture barriers are broken down and the four looks as if in one way or another their friendship and Kate’s understanding will bring them through to fulfilment of at least some of their dreams and ambitions.

This new play has been specially written to celebrate the return of Halley’s Comet in November 1985.

It is the story of Sonia, a Russian peasant-girl, born as the earth moved through the comet’s tail during its last visit in 1910, who grows up to an astronomy in the 1950s. It is an examination of the conflict between reason and unreason, freedom and tyranny and science and superstition in all our lives. Written in the form of short, inter-connected monologues, it uses the comet as a symbol: for Sonia’s mother it is something to be feared, for Sonia herself it is a scientific phenomenon, to be rationalized and lectured about. With minimal changes of costume Cecily Hobbs plays all the parts, appearing as Sonia’s mother, as Sonia, and even as Halley’s comet itself.

A 90-minute monologue. A woman scientist is shut up in a laboratory waiting to start on the dissection of a goat’s gut to ascertain the effects on it of nuclear radiation. But someone has omitted to kill the beast, so there is Alice confined in her cell (as it becomes) with nothing to but to talk to the goat. Isolation and boredom break her down from efficient scientist to blubbering child and all Miss Page’s preoccupations come to the surface: class resentment, the defensiveness of a woman who has run against female tradition and, above all, fear. The desire to be safe is the leitmotif that runs through the whole play – to insure, to protect, and above all survive.

Set in present day Glasgow, this new play with original music shows how a group of people are brought together by the threat of redundancy when the electronic musical instrument warehouse where they work is faced with unexpected closure.

Mairie, the new girl, escapes into the world of her music; Graeme overworks, Norman sneers Sophie calculates about her love-life and Lionel goes for auditions.

A compassionate and humorous story about survival.

London in the 1880’s… a city of power and opulence… poverty ridden slums on the verge of revolution… public unrest explodes into street riots… fear of Jack the Ripper and his ghastly murders haunts the night…

An innocent country girl alone in London, Jane fins sanctuary and employment in the plush surroundings of a gentleman’s club. Gradually she realises she is inextricably involved in the Brotherhood’s web of intrigue, blackmail, and murder.

Mr Hyde explores the plush underbelly of Victorian England and esepcially its corruption – economic, social and sexual – and relates those rancid dreams to the great Gothic myths of the time. The plot is essentially a thriller and the production lays emphasis on the seductive visual imagery and music specially composed by Richard Jobson.

Three freakish Londoners in East Berlin who encounter a Jewish father and daughter, both profoundly committed to their country’s authoritarian regime. The three Londoners are in the pop music business. John (Tim McInnerny) leads a group which venomously opposes the commercialisation of the industry and is in search of political material for a new album. His scowling black girl singer (Dulice Leicier) is so committed to the Third World she hates almost everything European in sight. The luscious Trudie Styler plays a middle class journalist and rebel on the make.

East Berlin plays unwilling host to a couple of successful British rock musicians. The Communist Party officially condemns rock music-yet the people avidly consume all the products of the capitalist West.

This paradox lies at the centre of Key To The World. This black comedy gets to the heart of popular music, and, with biting and satirical humour, savages the hypocrisy and cultural posturing of both East and West.

Red Saturday is set among the players and coaches of a First Division football club where to be almost the best is not enough, where success is everything and failure is cruelly exposed. It follows Lee, the star with decisions to make, and young Terry, on the brink of a great career, through the twenty-four hours before a big match; on the coach, in the hotel, in the dressing room.

A squad of men from the Paras meet in a cold station waiting room. They are about to set out on a journey that will change all their lives.

Welcome Home looks at the heroes, those who survived the Falklands campaign, and at the stresses on men asked to act as pall-bearers for a fellow soldier killed in that war.

“Soldiers can’t bury another soldier and do justice to him with tears running down their cheeks, snot sniffing in their noses and sobs coming out of their throats can they?”

A collection of commissioned plays that focus on the events of summer 1981 (London Riots, Liverpool 8, Royal Wedding, hunger strikes) to present a view of the kind of decade Britain is having so far in the ’80s.

Marcella Evaristi: shows the effect on style on a couple of women in the modelling business.

Gerard Mannix Flynn: set in the Maze prison – in a hunger strikers cell – a tragi-comic account of a meeting between martyr and a priest.

Dusty Hughes: a monologue in which William Cobbett visits Liverpool in the summer on 1981.

Tunde Ikoli: London fruit and vegetable market, where the foreman is kidnapped by a group of kids making a bid for stardom on Royal Wedding day.

Heathcote Williams: a seedy investigative journalist trying to sell the real dirt on the Royal Family to the publisher of a trashy German magazine.