<p/><br></br><p><b> Book Synopsis </b></p></br></br>'[Williams's] plays have brought the experience of black urban youth onto the stage' <i>Observer</i><br/><br/><i>Sucker Punch</i>: 'As usual with Williams, the dialogue is crisp and bespoke: motives are mixed, nobody is a hero, nothing is just black and white.' <i>The Times</i><br/><i><br/>Joe Guy</i>: 'Williams's dialogue ricochets around the stage like gunfire . . . energetic, exciting and entertaining.' <i>Stage</i><br/><br/><i>Category B</i>: 'Category B is a harrowing play, but one shot through with both dark humour and tentative flickers of hope'.<i> Daily Telegraph</i><br/><br/><i>Baby Girl</i>: 'The shocking thing about Roy Williams's<i> Baby Girl</i> is that it argues that there is a cyclical pattern to teenage pregnancy . . . Williams paints a rivetingly plausible picture of a world in which mothers and daughters are sexual rivals, 'virgin' is the ultimate peer insult and the school gates are a fertile hunting ground for male predators.' <i>Guardian<br/><br/>There's Only One Wayne Matthews</i>: 'Williams's writing is punchy . . . Wayne's gradual understanding of the realities of the world make this a touching coming-of-age drama.' <i>Guardian</i><p/><br></br><p><b> About the Author </b></p></br></br><p><b>Roy Williams</b>, OBE, worked as an actor before turning to writing full-time in 1990. He is one of the most important contemporary dramatists, with a particular relevance and popularity among young people.</p>
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