Greig, David, and Sarah Kane. “Introduction”. Complete Plays, Methuen Drama, p. ix - xviii.
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Connections Sort ascending | Author name | Excerpt |
---|---|---|
Literary responses | Seamus Heaney | Michael Billington
in the Guardian expressed dislike for the production by Lorraine Pintal
, which in making tyranny generic deleted the specific and topical references, but found the words austerely memorable and the play superbly... |
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, p. ix - xviii. x |
Literary responses | Harold Pinter | This play met with European as well as British success and was filmed in 1963. The excellent reviews, a complete reversal from the catastrophic ones for Pinter's previous London opening, are ascribed by Michael Billington |
Literary responses | Sarah Kane | Michael Billington
in 2005 called this his least favourite of Kane's plays. Yet he recognises its complexity. While he first saw it as a poetically allusive meditation on the obsessive nature of love, he later... |
Literary responses | Harold Pinter | Bernard Levin
called the play, in a revival of 1978, unendurable. Fraser, Antonia. Must You Go?. Random House of Canada. 93 Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/. |
Literary responses | Sarah Kane | Billington
noted in April 2005 the staggering disparity of perception between the attitude to SK
in England (where shehas not entered the theatrical mainstream, but is performed mostly at universities) and in the rest... |
Literary responses | Harold Pinter | Nevertheless, reviews in the daily and Sunday papers were bad (including those of Bernard Levin
and, more surprisingly, Michael Billington
). Fraser, Antonia. Must You Go?. Random House of Canada. 101-2, 112 |
Literary responses | Harold Pinter | Michael Billington
suggested in the ODNB that Pinter's reputation and career might have developed differently had this play been seen by the public at the time of its completion. Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/. |
Literary responses | Claire Luckham | English-speaking critics are divided on the play's politics. Margaret Llewellyn-Jones
thought it ideologically somewhat questionable in the way that it combines Brechtian distancing techniques with encouragement for the audience to cheer during the wrestling matches,... |
Literary responses | Claire Luckham | Reviewer Michael Billington
felt that the plot of Blackbird had a traditional feel—that using a death to precipitate a dispute over physical and emotional ownership was, along with other elements in the play, derivative... |
Literary responses | Edna O'Brien | Reviewer Michael Billington
especially admired the vigour and irony of O'Brien's language. Billington, Michael. “Fate meets human flaws”. Guardian Weekly, p. 16. 16 |
Literary responses | Frances Burney | The reanimation of FB
's comedies is a happy story. Tara Ghoshal Wallace
edited A Busy Day in paperback in 1984. A fringe production performed in Bristol in 1993, then in Islington, London, in... |
Literary responses | Louise Page | Most reviewers preferred the first part. Michael Billington
, reviewing for The Guardian, praised the play as less an anti-war diatribe than a feeling of the texture of ordinary lives. Eisen, Kurt. “Louise Page”. British Playwrights, 1956-1995. A Research and Production Source Book, edited by William W. Demastes, Greenwood Press, pp. 291-00. 293 |
Literary responses | Timberlake Wertenbaker | Some reviews (from Michael Billington
, for instance) were favourable; others were stinkers, complaining of melodrama and missed opportunity. Since the critics' night followed the Evening Standard theatre awards (a notoriously boozy mid-day occasion),... |
Literary responses | Caryl Churchill | Nearly forty years on, critic Michael Billington
wrote that Owners had announced the arrival of a major talent I signally failed to recognise. Billington, Michael. “The room that roared”. The Guardian, pp. G2: 19 - 20. G2: 20 |
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