Royal Court Theatre Upstairs

Connections

Connections Author name Excerpt
Literary responses Sarah Kane
This play outraged the critics, putting Kane on the news pages of tabloids as well as the arts pages of broadsheets.
Greig, David, and Sarah Kane. “Introduction”. Complete Plays, Methuen Drama, 2001, p. ix - xviii.
x
Paul Taylor in The Independent likened it to having your whole head held...
Occupation Harold Pinter
Always keen on acting, HP played the solo protagonist of Beckett 's Krapp's Last Tape in a wheelchair at the Royal Court Upstairs , in a run that began on 14 October 2006 (because an...
Performance of text Anne Devlin
After a month, the production transferred to the Royal Court Theatre Upstairs in London. It has also been produced in Washington, DC, and in Germany, and was published by Faber and Faber
Performance of text Timberlake Wertenbaker
Commissioned for the Theatre Upstairs , it was re-assigned to the main stage because the leading woman was judged too tall for the small space. It was published at the end of the year.
Billington, Michael. “The room that roared”. The Guardian, 22 July 2009, pp. G2: 19 - 20.
G2: 20
Berney, Kathryn A., editor. Contemporary Women Dramatists. St. James Press, 1994.
262
Performance of text Sue Townsend
Bazaar and Rummage was produced at the Royal Court Theatre Upstairs . Groping for Words was seen at the Warehouse Theatre, Croydon , in 1983, and again at the same venue in 1986 as Are...
Performance of text Sue Townsend
Of ST 's later plays, Ear, Nose and Throat was seen at the Tyne Wear Theatre in Newcastle in 1988. Disneyland It Ain't, which opened at the Royal Court Theatre Upstairs on 18 June...
Performance of text Winsome Pinnock
Talking in Tongues, another play by WP , was produced at the Royal Court Theatre Upstairs .
“Winsome Pinnock”. Playwrights.
Performance of text Sarah Kane
SK 's first play, Blasted, opened at the Royal Court Theatre Upstairs in London. Its raw violence and brutality provoked extreme responses from audiences and critics.
Singer, Annabelle. “Don’t Want to Be This: The Elusive Sarah Kane”. The Drama Review, Vol.
48
, No. 2, 1 June 2004– 2024, pp. 139-71.
142
Performance of text Sarah Kane
SK 's last play, 4.48 Psychosis, which has been described as her 70 minute suicide note,
qtd. in
Singer, Annabelle. “Don’t Want to Be This: The Elusive Sarah Kane”. The Drama Review, Vol.
48
, No. 2, 1 June 2004– 2024, pp. 139-71.
160
was performed posthumously at the Royal Court Theatre Upstairs .
British Library Catalogue. http://explore.bl.uk/primo_library/libweb/action/search.do?dscnt=0&tab=local_tab&dstmp=1489778087340&vid=BLVU1&mode=Basic&fromLo.
Aston, Elaine. Feminist Views on the English Stage: Women Playwrights, 1990-2000. Cambridge University Press, 2003.
78
Singer, Annabelle. “Don’t Want to Be This: The Elusive Sarah Kane”. The Drama Review, Vol.
48
, No. 2, 1 June 2004– 2024, pp. 139-71.
159
Kane, Sarah, and David Greig. Complete Plays. Methuen Drama, 2001.
204

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