Stowell, Sheila. A Stage of Their Own. University of Michigan Press.
165
Connections Sort descending | Author name | Excerpt |
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Performance of text | Elizabeth Robins | ER
's suffrage play, Votes for Women (one of the earliest in the genre), was first performed at the Court Theatre
. Stowell, Sheila. A Stage of Their Own. University of Michigan Press. 165 Liggins, Emma. “The ’Sordid Story’ of an Unwanted Child: Militancy, Motherhood, and Abortion in Elizabeth Robins’s Votes for Women and Way Stations”. Women’s Writing, Vol. 25 , No. 3, pp. 347-61. 350 |
Performance of text | Caryl Churchill | CC
's play Traps (written, this time, without the collaboration of a theatre group) was first performed at the Royal Court Theatre
Upstairs in London. Demastes, William W., editor. British Playwrights, 1956-1995. Greenwood Press. 110 Churchill, Caryl. Traps. Pluto Press. prelims |
Performance of text | Githa Sowerby | GS
's realist drama Rutherford and Son was first produced at the Court Theatre
in London, where it had four matinée performances. Stowell, Sheila. A Stage of Their Own. University of Michigan Press. 166, 130 |
politics | Ann Jellicoe | Looking back at her time at the Royal Court
from 1984, however, AJ
commented: I was awfully blind—I'm one of the ones that's been re-educated. . . . I didn't appreciate what tremendous disadvantages I... |
Author summary | Ann Jellicoe | AJ
was one of the new, post-war generation of playwrights associated with the Royal Court
, who helped to revitalise theatre in Britain in the late 1950s and early 1960s. Her early plays, whose plotlessness... |
Publishing | Sarah Daniels | SD
began writing after reading an injunction from Doris Lessing
about putting one's life in order. Some fringe plays that she attended were absolutely dreadful, which made her confident that she could do better... |
Publishing | Ann Jellicoe | The play opened in Cambridge because the Royal Court
, despite their earlier supportiveness, wanted to test the waters before staging another Jellicoe play in London. AJ
credits John Osborne
for persuading them to produce... |
Reception | Ann Jellicoe | AJ
later described this play as a flop d'estime. Jellicoe, Ann. “Ann Jellicoe Talks to Sue Todd”. The Knack and The Sport of My Mad Mother, Faber and Faber, pp. 9-23. 12 Demastes, William W., editor. British Playwrights, 1956-1995. Greenwood Press. 220, 222 |
Reception | Ann Jellicoe | Michael Coveney
and David Edgar
counted this, with The Knack, part of a legendary canon in Sloane Square (home of the Royal Court Theatre
). Coveney, Michael, and David Edgar. “Ann Jellicoe obituary”. theguardian.com. |
Textual Production | Marie Stopes | MS
must have been still at the threshold of her career as a dramatist when she proposed to Angela Brazil
that she should do a stage adaptation of one of Brazil's school stories. Brazil quashed... |
Textual Production | Doris Lessing | Its original production was at the Royal Court Theatre
in London 1958. In April 2015 a revival opened at the |
Textual Production | Caryl Churchill | CC
's A Number (a play about cloning, whose characters are exclusively male) opened at the Royal Court Theatre
in London, directed by Stephen Daldry
. Gardner, Lyn. “A Number”. Guardian Unlimited. |
Textual Production | Timberlake Wertenbaker | TW
's Three Birds Alighting on a Field opened at the Royal Court Theatre
in London. Demastes, William W., editor. British Playwrights, 1956-1995. Greenwood Press. 410 |
Textual Production | Timberlake Wertenbaker | TW
's The Break of Day opened at the Royal Court Theatre
in London after touring the UK; it was published by Faber and Faber
in London and Boston in the same year. Wertenbaker, Timberlake. The Break of Day. Faber and Faber. title-page, back cover |
Textual Production | Ann Jellicoe | AJ
knew from an early age that she wanted to work in the theatre. At school she put together amateur productions of many of her own creations. Her first work to achieve a professional production... |
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