National Theatre

Connections

Connections Sort descending Author name Excerpt
Anthologization Bryony Lavery
BL 's More Light, a play for children of secondary-school age commissioned by the Education Department of the Royal National Theatre , was published by Faber and Faber in New Connections: New Plays for Young People.
OCLC WorldCat.
Employer Winsome Pinnock
In her late teens WP planned to become an actor. She abandoned a brief career on stage partly because she found herself being typecast in maternal roles. She sees her work as a writer as...
Employer Harold Pinter
As well as writing (in many other genres as well as for the theatre) Pinter also directed regularly: for instance, The Man in the Glass Booth by Robert Shaw , 1967, Otherwise Engaged by his...
Family and Intimate relationships Edith Lyttelton
After EL 's death, Oliver Lyttelton carried on his mother's work for the National Theatre as an act of filial piety,
Oliver Lyttelton, first Viscount Chandos,. The Memoirs of Lord Chandos. Bodley Head, 1962.
xv
eventually assuming the role of Chairman of the Board in 1962 and Life...
Intertextuality and Influence Mary Shelley
The legacy of Frankenstein is immense and widely diffused. It has been successfully filmed not once but several times, as simple horror movie and as intellectualised retelling with a gruesome birth scene only marginally connected...
Intertextuality and Influence Caryl Churchill
The 1986 deregulation of the stock market—the Big Bang—by fortunate coincidence
Churchill, Caryl. Serious Money. Methuen, 1990.
prelims
took place during the play's workshop and development period. The play centres on a corporate takeover, which functions allegorically: a corporate raider...
Literary responses Enid Bagnold
The Chalk Garden remains EB 's best-known work. While it has had frequent revivals by amateur and professional companies, Bagnold was disappointed that the National Theatre never expressed interest in reviving it, an omission she...
Literary responses Pam Gems
This play brought PG 's work to the attention of critics and playgoers alike. While reviews were generally quite positive, some had difficulty accepting the play's feminist perspective. For instance, Ted Whitehead in The Spectator...
Literary responses Winsome Pinnock
WP was touched and delighted when members of the National Theatre audience (mostly white and relatively affluent) saw the likeness between their own parents and those on stage.
Stephenson, Heidi, and Natasha Langridge. Rage and Reason: Women Playwrights on Playwriting. Methuen Drama, 1997.
In 1991 this play won her the...
Literary responses Caryl Churchill
Top Girls achieved tremendous popular and critical success. In 1999, National Theatre audiences voted it one of the top One Hundred Plays of the Century—and the only play by a woman to make the top...
Occupation Edith Lyttelton
EL served on boards of several theatres, including the Vic-Wells , the National Theatre , and the Shakespeare Memorial Theatre at Stratford upon Avon. She was particularly devoted to the National Theatre cause and...
Performance of text Sarah Daniels
The plays, written for young actors, had all been workshopped at a residential weekend for members of various theatre companies somewhere in the Midlands (the workshop on Taking Breath being led by director Gemma Bodinetz
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 Sarah Daniels
In summer 2005 SD contributed another play to a National Theatre Connections season for young people: Dust, which takes up the topic of bullying.
Aston, Elaine, and Geraldine Harris. Performance Practice and Process: Contemporary (Women) Practitioners. Palgrave Macmillan, 2008.
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Performance of text Flora Thompson
In 1978 the National Theatre staged an adaptation of Lark Rise written by Keith Dewhurst . After Dewhurst's sequel, Candleford Green, opened in 1979, successive performances of both plays in a single day became...

Timeline

19 May 1908
A campaign to establish a National Theatre began with a mass meeting at the Lyceum Theatre , London.
9 March 1949
A National Theatre Act was passed by the British Parliament , which allowed the Treasury to contribute towards national theatre costs.
13 July 1951
Queen Elizabeth II laid the foundation stone of the National Theatre , on the South Bank, London.
11 April 1967
Tom Stoppard 's first great stage success, Rosencrantz and Guildenstern are Dead, had its professional debut at the National Theatre in London. A version had been seen at the Edinburgh Fringe Festival of...
25 October 1976
The National Theatre 's new home on the South Bank officially opened with a royal gala performance of a comedy by Carlo Goldoni in its larger auditorium, the Olivier.
13 April 1993
Tom Stoppard 's Arcadia, a play whose action is divided between the early nineteenth century and the present day, opened (after previews) at the National Theatre in London.
September-November 2005
An exhibition at the National Theatre in London, Flogging the Jewels, celebrated thirty years of the company now called Sphinx (formerly the Women's Theatre Group).
By 13 May 2007
The director of London's National Theatre , Nicholas Hytner , alleged that critics (whom he called dead white men) showed misogyny in reviewing plays by women.