Bull, John, editor. Dictionary of Literary Biography 245. Gale Research, 2001.
116
Crucible Theatre
Connections
| Connections Sort descending | Author name | Excerpt |
|---|---|---|
| Performance of text | Sarah Daniels | Another of SD
's plays, Ma's Flesh is Grass, was produced at the Crucible Studio Theatre
in Sheffield. “Contemporary Authors”. Gale Databases: Literature Resource Centre-LRC. Griffin, Gabriele. “Violence, Abuse, and Gender Relations in the Plays of Sarah Daniels”. The Cambridge Companion to Modern British Women Playwrights, edited by Elaine Aston and Janelle Reinelt, Cambridge University Press, 2000, pp. 194-11. 207 |
| Performance of text | Alison Fell | Mapping the Edge, a play collaboratively written by AF
, Amanda Dalton
, and Bernardine Evaristo
for the SheffieldCrucible Theatre
, opened there for the first time. British Council Film and Literature Department, in association with Book Trust. Contemporary Writers in the UK. http://www.contemporarywriters.com. |
| Performance of text | Githa Sowerby | In the 1980s and 1990s, Rutherford and Son enjoyed several revivals by feminist theatre groups and directors, including productions by Mrs Worthington's Daughters
in June 1980 (abridged by Michelene Wandor
); Southern Lights
at the... |
| Performance of text | Pam Gems | PG
adapted and translated several Chekhov plays over the following decades. In 1984 her version of The Cherry Orchard opened at the Haymarket Theatre
in Leicester, and in 2007 it was directed by Jonathan Miller |
| Performance of text | Sarah Kane | The play was revived at Sheffield in February 2015 at the Crucible Studio
. Bennett, Alan. “What I Did in 2015”. London Review of Books, Vol. 38 , No. 1, 7 Jan. 2016, pp. 3-8. 3 Gardner, Lyn. “Blasted review—unflinching revival of Sarah Kane’s prescient horror show”. theguardian.com, 11 Feb. 2015. |
| Performance of text | Edna O'Brien | EOB
's adaptation of Euripides
's tragedy Iphigenia in Aulis premiered at the Crucible Theatre
in Sheffield. Billington, Michael. “Fate meets human flaws”. Guardian Weekly, 20–26 Feb. 2003, p. 16. 16 |
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