On any given year at the largest arts festival in the world you will probably be able to see a play in a caravan, a car, a converted shipping container and a toilet cubicle. Theatre thrives in intimate spaces, which is why so many writers are instructed to write small plays that are stageable in any small room capable of a decent blackout. If you are taking a show to the Edinburgh Fringe then brevity makes practical, artistic and economic sense.
But all this emphasis on the minimal presents a problem for schools and colleges that are looking to populate larger stages, and as a consequence, contemporary plays for large casts are hard to find.
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