John Blythe

On August the 15th, 1945, after the official surrender of the Empire of Japan, Admiral Matome Ugaki led the last Special Attack Force pilots across the Pacific, to crash into American ships. Thirty-five years later, the men who serviced the aeroplanes are still meeting up for their annual dinner. Now settled into civilian jobs - dentist, baker, taxi-driver, insurance salesman - and with children and grandchildren, they bemoan the decay of traditional Japanese values. Hard liquor is imbibed, toasts raised to the memory of the heroic dead, and old rivalries resurface. The survivors' dissatisfaction with post-war life comes to a head when, in a moment of drunken inspiration, Tokkotai the airline pilot decides on a symbolic gesture to show that the kamikaze spirit lives on.

The year is 1904; the setting is Cockshute Towers, one of England's stateliest homes. When the household is threatened with bankruptcy, both the masters and the servants are prepared to co-operate in trying to find some cash - after all, most of them are enjoying liaisons of one kind or another among themselves, and none have any desire to give up their rewarding way of life...

A young handyman and his wife move to a small village and set up business. There, the handyman encounters numerous strange characters, including a local constable more inept than a squad car full of Keystone Kops; an elderly magistrate whose primary passion is spanking young women; a schoolmistress with a closetful of kinks; and more predatory housewives than the young man can handle.

An aging actress and socialite, Jessica Medlicott has ended her engagement with a younger man and is now being sued by her former fiancé. Esteemed barrister Sir Arthur Glanville-Jones is assigned to represent Jessica in the lawsuit, and he also happens to be an old suitor of hers from decades earlier. While Jessica claims not to remember him, and Arthur still smarts from her earlier rejection, the two form a close bond during the case.

'I'm unusual. I really want to be an architect. Always have done. Always wanted to build fine buildings and fine cities where people can work and eat and sleep and be happy. But the rules of the game say before you can do that you've got to start a firm. Employ people. Turn it into a career. I like architecture. I hate careers. The minute you make it a career you build a ladder and people want to climb it. Sometimes they stand on your fingers. It's hard to draw with flattened fingers. Spoils your draughtsmanship.'

Ken's Loach's first production for The Wednesday Play is a story of a group of criminals planning a robbery, with the unwitting aid of a wealthy, well-connected society acquaintance. But who is the greater villain?

Ken Loach production for The Wednesday Play, reflecting contemporary debates surrounding the abolishment of capital punishment.

An accident in the butchers shop leads Norman Pitkin and Mr Grimsdale to the hospital where, after causing the normal ammount of chaos, Pitkin finds Lindy, a little girl who hasn't spoken or smiled since her parents were killed in an aeroplane accident. Pitkin decides to help.

An honest news agent realizes that his 2 sons are corrupt. When one criminal son is in jail, the other breaks him out to help with a job.

Norman Pitkin wants to be a policeman like his father was, but he fails the height test (amongst others). One day he gets out his father's old uniform and "walks the beat". This leads to a level of chaos that only Pitkin could cause