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Auden often said that metre and rhyme led him down unexpected paths to thoughts he wouldn't otherwise have had, and in this respect versification and fornication are not so different. \n\nBenjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by amongst others their future biographer and a young man from the local bus station.\n\nYou are a rent boy. I am a poet. Over the wall lives the Dean of Christ Church. We all have our parts to play.\n\nAlan Bennett's new play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion's spent: ultimately, on the habit of art. \n\n'In the end,' said Auden, 'art is small beer. The really serious things in life are earning one's living and loving one's neighbour.'

Auden often said that metre and rhyme led him down unexpected paths to thoughts he wouldn't otherwise have had, and in this respect versification and fornication are not so different. \n\nBenjamin Britten, sailing uncomfortably close to the wind with his new opera, Death in Venice, seeks advice from his former collaborator and friend, W H Auden. During this imagined meeting, their first for twenty-five years, they are observed and interrupted by amongst others their future biographer and a young man from the local bus station.\n\nYou are a rent boy. I am a poet. Over the wall lives the Dean of Christ Church. We all have our parts to play.\n\nAlan Bennett's new play is as much about the theatre as it is about poetry or music. It looks at the unsettling desires of two difficult men, and at the ethics of biography. It reflects on growing old, on creativity and inspiration, and on persisting when all passion's spent: ultimately, on the habit of art. \n\n'In the end,' said Auden, 'art is small beer. The really serious things in life are earning one's living and loving one's neighbour.'

Alan Bennett's A Life Like Other People's is a poignant family memoir offering a portrait of his parents' marriage and recalling his Leeds childhood, Christmases with Grandma Peel, and the lives, loves and deaths of his unforgettable aunties Kathleen and Myra. Bennett's powerful account of his mother's descent into depression and later dementia comes hand in hand with the uncovering of a long-held tragic secret. A heartrending and at times irresistibly funny work of autobiography by one of the best-loved English writers alive today.

Alan Bennett's A Life Like Other People's is a poignant family memoir offering a portrait of his parents' marriage and recalling his Leeds childhood, Christmases with Grandma Peel, and the lives, loves and deaths of his unforgettable aunties Kathleen and Myra. Bennett's powerful account of his mother's descent into depression and later dementia comes hand in hand with the uncovering of a long-held tragic secret. A heartrending and at times irresistibly funny work of autobiography by one of the best-loved English writers alive today.

A sale? Why not? Release all your wonderful treasures onto the open market and they are there for everyone to enjoy. It's a kind of emancipation, a setting them free to range the world... a sale room here, an exhibition there; art, Lady Stacpoole, is a rover.\n\nPeople spoil things; there are so many of them and the last thing one wants is them traipsing through one's house. But with the park a jungle and a bath on the billiard table, what is one to do? Dorothy wonders if an attic sale could be a solution.

A sale? Why not? Release all your wonderful treasures onto the open market and they are there for everyone to enjoy. It's a kind of emancipation, a setting them free to range the world... a sale room here, an exhibition there; art, Lady Stacpoole, is a rover.\n\nPeople spoil things; there are so many of them and the last thing one wants is them traipsing through one's house. But with the park a jungle and a bath on the billiard table, what is one to do? Dorothy wonders if an attic sale could be a solution.

An unruly bunch of bright, funny sixth-form boys in pursuit of sex, sport and a place at university. A maverick English teacher at odds with the young and shrewd supply teacher. A headmaster obsessed with results; a history teacher who thinks he's a fool.\n\nIn Alan Bennett's classic play, staff room rivalry and the anarchy of adolescence provoke insistent questions about history and how you teach it; about education and its purpose.\n\nThe History Boys premiered at the National in May 2004.

An unruly bunch of bright, funny sixth-form boys in pursuit of sex, sport and a place at university. A maverick English teacher at odds with the young and shrewd supply teacher. A headmaster obsessed with results; a history teacher who thinks he's a fool.\n\nIn Alan Bennett's classic play, staff room rivalry and the anarchy of adolescence provoke insistent questions about history and how you teach it; about education and its purpose.\n\nThe History Boys premiered at the National in May 2004.

- What were you in life?\n- In life, as you put it, I was a schoolmaster. \n\nThe Beth, an old fashioned cradle-to-grave hospital serving a town on the edge of the Pennines, is threatened with closure as part of an NHS efficiency drive. As Dr Valentine and Sister Gilchrist attend to the patients, a documentary crew, eager to capture its fight for survival, follows the daily struggle to find beds on the Dusty Springfield Geriatric Ward. Meanwhile, the old people's choir, in readiness for next week's concert, is in full swing, augmented by the arrival of Mrs Maudsley, aka Pudsey Nightingale. \n\nAlan Bennett's Allelujah! opened at the Bridge Theatre, London, in July 2018. \n\nWith an introduction by Alan Bennett.

- What were you in life?\n- In life, as you put it, I was a schoolmaster. \n\nThe Beth, an old fashioned cradle-to-grave hospital serving a town on the edge of the Pennines, is threatened with closure as part of an NHS efficiency drive. As Dr Valentine and Sister Gilchrist attend to the patients, a documentary crew, eager to capture its fight for survival, follows the daily struggle to find beds on the Dusty Springfield Geriatric Ward. Meanwhile, the old people's choir, in readiness for next week's concert, is in full swing, augmented by the arrival of Mrs Maudsley, aka Pudsey Nightingale. \n\nAlan Bennett's Allelujah! opened at the Bridge Theatre, London, in July 2018. \n\nWith an introduction by Alan Bennett.

Adapted by the author from his autobiographical memoir, The Lady in the Van tells the story of Miss Mary Shepherd, whom Alan Bennett first came across when she was living in the street near his home in Camden Town. Taking refuge with her van in his garden originally for three months, she ended up staying fifteen years. Funny, touching and unexpectedly spectacular, The Lady in the Van marked the return to the stage of one of our leading playwrights.\n\nThe Lady in the Van with Maggie Smith opened at the Queen's Theatre, London, in December 1999.

'We have, in the nick of time, a Play of the Year: Alan Bennett's The Lady in the Van is a wonderfully bittersweet comic diary of the years in which a lethally dotty and very smelly old bat parked her unroadworthy vehicle in Bennett's Camden garden, thereby providing him with a roughly equal amount of journalistic copy and guilty landlordly irritation.\n\nSheridan Morley, Spectator

Adapted by the author from his autobiographical memoir, The Lady in the Van tells the story of Miss Mary Shepherd, whom Alan Bennett first came across when she was living in the street near his home in Camden Town. Taking refuge with her van in his garden originally for three months, she ended up staying fifteen years. Funny, touching and unexpectedly spectacular, The Lady in the Van marked the return to the stage of one of our leading playwrights.\n\nThe Lady in the Van with Maggie Smith opened at the Queen's Theatre, London, in December 1999.

'We have, in the nick of time, a Play of the Year: Alan Bennett's The Lady in the Van is a wonderfully bittersweet comic diary of the years in which a lethally dotty and very smelly old bat parked her unroadworthy vehicle in Bennett's Camden garden, thereby providing him with a roughly equal amount of journalistic copy and guilty landlordly irritation.\n\nSheridan Morley, Spectator

Tre anziane, eccentriche signore, una cadente dimora di campagna, e il problema di metterla a reddito. Come? Una soluzione: far intervenire l'onnipresente National Trust, se non fosse che il suo emissario si è rivelato un po' troppo entusiasta di certi vecchi pitali e del loro utilizzo da parte di alcune, antiche, celebrità. Molto meglio, per il momento, andare sul sicuro, cioè accettare l'offerta di un produttore, che in cambio di parecchio denaro chiede soltanto di rimanere in un angolo, mentre la sua troupe sistema il set del film che si accinge a girare: un porno, naturalmente. L'ultimo Bennett come il lettore sta imparando a conoscerlo: più esplicito, più feroce e più comico di quanto non sia mai stato.

Tre anziane, eccentriche signore, una cadente dimora di campagna, e il problema di metterla a reddito. Come? Una soluzione: far intervenire l'onnipresente National Trust, se non fosse che il suo emissario si è rivelato un po' troppo entusiasta di certi vecchi pitali e del loro utilizzo da parte di alcune, antiche, celebrità. Molto meglio, per il momento, andare sul sicuro, cioè accettare l'offerta di un produttore, che in cambio di parecchio denaro chiede soltanto di rimanere in un angolo, mentre la sua troupe sistema il set del film che si accinge a girare: un porno, naturalmente. L'ultimo Bennett come il lettore sta imparando a conoscerlo: più esplicito, più feroce e più comico di quanto non sia mai stato.