By Dorney, Kate; Gray, Frances; Griffiths, Richard
Released in collaboration with the Victoria & Albert Musuem, performed in Britain: smooth Theatre in a hundred performs explores the simplest and so much influential performs from 1945 thus far. totally illustrated with images from the V&A's collections and that includes a foreword by means of Richard Griffiths O.B.E., the publication offers a luxurious deal with for theatre-lovers. It was once presented the 2014 David Bradby Award for examine via the Theatre and function learn organization.
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Additional info for Played in Britain : Modern Theatre in 100 Plays
In the club, the Bohemian flotsam and jetsam keep reality at bay by drinking, flirting and fantasising about fame and fortune. Manageress Christine is a self-pitying and lonely alcoholic. Members include Hugh Marriner, a writer claiming to be blocked after a damning review, Siegfried Shrager, a refugee and suspected black marketeer and his glamorous companion, Elizabeth. The play is dominated by Christine’s attempts to seduce an American serviceman, Butch. Act One ends as Hugh confronts the reviewer and Elizabeth refuses to hear about the fate of a friend liberated from a German camp.
Translated into English and first performed in the UK at the Theatre Royal Stratford East, London, 14 October 1958. SNAPSHOT The Hostage mixes farce and political cabaret with a naturalistically treated love story. In Belfast, an eighteen-year-old boy waits in jail to be hanged for killing a policeman; the IRA takes a hostage, a young English soldier called Leslie, threatening to kill him if the sentence is carried out. They hide Leslie in the last place they think anyone will look – a Dublin brothel owned by an ancient rebel and run by his one-legged sidekick.
Roger Mayne, Photographer a The play won third prize in the 1956 Observer competition for new playwrights, but the production at the Royal Court ran for only fourteen performances. Many reviews seemed to miss the point – The Times oddly remarking that Jellicoe ‘appears to see life in a series of newspaper clichés’. It was, however, unmistakably a pioneering work. Jellicoe was not only the first woman in a predominantly male generation of playwrights, but also radically anti-naturalistic in style.