1 Tissue

by Louise Page

Published by Methuen Drama in Page Plays: 1

Cast: 2 women, 1 man.

Themes and Issues: The play is made up of episodic scenes exploring themes of breast cancer. If you have students who've enjoyed naturalism and Brechtian theatre, this is a gateway to exploring those performance styles.

Performance matters: Sally needs to have some big acting chops in order to negotiate the abstract nature of the text and emotional arc of the story. There are a few different locations in which the story takes place so it is worth the concept for the show using actors wearing black and having symbolic costume and props.

Why it's great: The character breakdown is short and sweet; Sally, Man and Woman. The students get the simplicity straight away and really get excited at the chance of doing lots of multi-roling. In the past, I've cast my most able girl as Sally and then divided up the Man and Woman characters to boys and girls in a mixed ability group.

Watch out for: The subject matter is something that will likely have affected nearly everyone working on the project. There have been occasions where students have found aspects of the script quite emotional which is a testament to the brilliant writing. However, watch out for students who might need extra care and support.

2 Pool (No Water)

by Mark Ravenhill

Published by Methuen Drama in Ravenhill Plays: 2

Cast: Ideally four performers.

Themes and Issues: The principal themes are jealously, friendship and art.

Performance matters: There is no fixed way to perform this text which leaves lots of opportunity for the director to go to town. I've done a physical version where we used a beaten up shopping trolley to establish hospital beds and diving boards: the crazier the better I say.

Why it's great: This play has always been my go-to Physical Theatre text for A Level and BTEC. The story has a darkness and an edge to it and gets them considering ‘What is art? What price would you pay for success? How does fame change people?’ A group of students who love movement or physical theatre will take real ownership of the text. My favourite musical references to use on this are The Prodigy, Imogen Heap and the Donnie Darko soundtrack. Crank it up and let them at it.

Watch out for: Some of the language is quite explicit: when it was originally performed at the Lyric Hammersmith, it was suggested for students who are aged fourteen and above. There is use of the c word which I've cut out, depending on the school's policy regarding language.

3 The Laramie Project

by Moises Kaufman

Published by Vintage

Cast: A large ensemble cast.

Themes and Issues: Originally written in response to the horrific murder of Matthew Shepard in 1998 in Laramie, Wyoming, this verbatim play looks at a homophobic hate crime and the conflict between sexuality and religion throughout.

Performance matters: I'd stick to naturalism rather than using the text to explore physical theatre. You can use extracts or key scenes from the start, middle and end to get a sense of this epic and tragic story: it's impossible to perform the whole play.

Why it's great: I've not met a group of students who haven't engaged with the text or had an opinion on the subject matter. It was the first play I ever directed in school and I've done versions for GCSE, BTEC and A Level. There's loads of information online and on YouTube to support your lessons. I once cast it for a small group of Year 11 girls for their GCSE exam and they thrived off having the chance to play men and women of a variety of ages, classes and backgrounds. Less able students also get the opportunity to explore narrating as a character, which can play to the strengths of some individuals.

Watch out for: Scenes often talk about past events, which means some aren't as ‘emotionally present’ as others where some of the characters talk separately from the ensemble and address the audience directly. Nevertheless, this play can't help but pack a powerful emotive punch.

4 Dogs Barking

by Richard Zajdlic

Published by Faber & Faber

Cast: 2 males, 2 females.

Themes and Issues: Sibling rivalry, failing relationships and jealousy in friendship.

Performance matters: I think one of the keys scenes to focus on is that between Alex, Vicky and Neil in the middle, where the biggest conflict takes place. I'm a huge fan of plays that contain naturalistic duologues with simple settings, as it means you can really focus on the students' performance, not technical demands.

Why it's great: If your students want to perform a naturalistic drama about relationships and their endings, this is a credible choice with layers, warmth and depth. Richard Zadjlic has written extensively for television and the dialogue zips along at break-neck speed. Zadjlic wrote one of my all-time favourite TV shows, This Life, and the tone is very similar. Keep the casting simple and letting the actors build a tight bond while exploring the text. There is only one setting: a grotty London bedsit, so it's really straightforward in terms of design and perfect for your A Level production.

Watch out for: The fight scene between Neil and Alex at the end of the play which becomes quite violent. This needs to be handled with care and maturity, and may need to be adapted according to your group. I've often ensured that the group of students that work on it have a solid pre-existing rapport or friendship.

5 Love and Information

Cast: From 2 to 200.

Themes and Issues: The internet, technology, social media and of course, love and information. The play premiered at The Royal Court in 2012.

Performance matters: Actors can perform in one or multiple scenes in any order and the show will still make sense. I've worked on a version where the stage is just full of scattered school chairs and actors organise them at the end of each scene to establish the setting for the next location.

Why it's great: There are around 57 scenes and 100 characters that can be played by as many actors as you want, in any order you want. The casting is broad and the script is still so relevant to the world we live in. The set for the show can be something very simple (great if you're a drama department with a small budget) and performed with boxes or chairs done in a naturalistic or abstract style. If the ensemble work proves challenging, you can choose a large group of students but have pairs working on the scenes, which means it's easier to rehearse.

Watch out for: The pace of the dialogue really requires special attention. Many scenes include characters interrupting each other and overlapping thoughts, so students need to be confident with the lines.