Powell, Violet. The Constant Novelist. W. Heinemann.
81
Connections | Author name Sort descending | Excerpt |
---|---|---|
Performance of text | Margaret Kennedy | Kennedy co-wrote this play with producer Basil Dean
. Opening night in London was a smashing success and a production in New York followed shortly afterwards, to similar acclaim. Powell, Violet. The Constant Novelist. W. Heinemann. 81 |
Performance of text | Harold Pinter | HP
's play No Man's Land opened at the National Theatre
: a two-hander employing the theatrical eminences John Gielgud
and Ralph Richardson
, directed by Peter Hall
. Fraser, Antonia. Must You Go?. Random House of Canada. 15-17 Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/. |
Material Conditions of Writing | Mary Renault | The Charioteer's focus on homosexuality caused great concern to MR
's publishers. She had not published anything for five years, and this novel was a significant departure from her earlier work. In Britain her... |
Family and Intimate relationships | Naomi Royde-Smith | Milton had his first big London success in 1922, and before Royde-Smith married him she had praised his magnetic performance as Hamlet. Speaight, Robert. “Naomi Royde-Smith”. The Tablet, Vol. 218 , No. 6481, p. 21. |
Leisure and Society | Christopher St John | John Gielgud
and Peggy Ashcroft
performed in Twelfth Night in the Barn Theatre; it was on this night that CSJ
first met her new neighbours Vita Sackville-West
and Harold Nicolson
. Glendinning, Victoria. Vita. Penguin. 251 |
Occupation | Noel Streatfeild | After studying at RADA, NS
went on the stage, where she gained experience of everything from classic roles to revues and pantomime. Her first engagement was with the Charles DoranShakespeare
an Company
where she... |
Publishing | Josephine Tey | Daviot wrote this play in 1936, and sent the script to John Gielgud
, who liked [it] very much except for the last act, but this she was not willing to change. Gielgud, Sir John, and Josephine Tey. “Foreword”. Plays by Gordon Daviot, Peter Davies, p. ix - xii. ix |
Textual Production | Josephine Tey | The other volumes of the set appeared in 1954. Her plays were a special focus of her concern for posthumous publication: her will instructed her agent to pay for their printing out of her estate... |
Performance of text | Josephine Tey | Gordon Daviot
's first and most successful play, Richard of Bordeaux, starring John Gielgud
and Gwen Ffrangcon-Davies
, re-opened at London's New Theatre
, where it ran for fourteen months. Tey, Josephine. Richard of Bordeaux. Little, Brown. prelims Roy, Sandra. Josephine Tey. Twayne. 14 Harben, Niloufer. Twentieth-Century English History Plays: from Shaw to Bond. Macmillan. 92 |
Performance of text | Josephine Tey | Gordon Daviot
's Queen of Scots, directed by Sir John Gielgud
and starring Gwen Ffrangcon-Davies
and a young Laurence Olivier
, opened at the New Theatre
in London. Gielgud, Sir John, and Josephine Tey. “Foreword”. Plays by Gordon Daviot, Peter Davies, p. ix - xii. ix Weintraub, Stanley, editor. Dictionary of Literary Biography 10. Gale Research. 10: 139 Roy, Sandra. Josephine Tey. Twayne. 23 |
Textual Production | Josephine Tey | Peter Davies
posthumously published the first of a three-volume collection of Plays by Gordon Daviot (also known as JT
), with a foreword by Sir John Gielgud
(though without any overview of Daviot's career to... |
Friends, Associates | Josephine Tey | JT
carefully guarded her privacy. Former neighbours reported that she was very reclusive and did most of her writing in a tiny summerhouse. The Inverness Courier's account of her death notes that she did... |
Friends, Associates | Josephine Tey | |
Textual Production | Josephine Tey | JT
wrote several plays under the name Gordon Daviot. Her first, Richard of Bordeaux, was by far her greatest critical success. Its immediate successors had much shorter runs, and most of her later... |
Intertextuality and Influence | Josephine Tey | John Gielgud
persuaded Daviot to revise the play after this initial production, the result of which, he claims, was that she improved the play, by a few brilliant strokes, almost beyond recognition. Gielgud, Sir John, and Josephine Tey. “Foreword”. Plays by Gordon Daviot, Peter Davies, p. ix - xii. ix |
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