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Appendix 1: Timeline Appendix 1: Timeline 1925 Piscator, Erwin. In Spite of Everything. Schauspielhaus, Berlin 1935 Eliot, T.S. Murder in the Cathedral. Canterbury Cathedral 1938 Unity Theatre. Babes in the Wood. Unity Theatre 1946 Rattigan, Terence. The Winslow Boy. London 1960 Bennett, Alan et al. Beyond the Fringe. Royal Lyceum, Edinburgh Bolt, Robert. A Man for All Seasons. Globe Theatre 1961 Osborne, John. Luther: A Play. Royal Court 1963 Arendt, Arthur. Ethiopia. Living Newspaper Hochhut, Rolf. The Deputy (Der Stellvertreter). Freie Volksbühne, Berlin Theatre Workshop. Oh, What a Lovely War! Theatre Royal Stratford East 1964 Kipphardt, Heiner. In the Matter of J. Oppenheimer. Hessischer Rundfunk (German Television) then Freie Volksbühne, Berlin Shaffer, Peter. Royal Hunt of the Sun. National Theatre 1965 Weiss, Peter. The Investigation (Die Ermittlung) 1968 Bond, Edward. Early Morning. English Stage Society, Royal Court Hampton, Christopher. Total Eclipse. Royal Court 1969 Arden, John and Margaretta D’Arcy. The Hero Rises Up. Institute of Contemporary Arts at the Round House, Chalk Farm 1971 Mitchell, Anthony. Tyger. National Theatre 1974 Brenton, Howard. The Churchill Play. Nottingham Playhouse Stoppard, Tom. Travesties. RSC at Aldwych Theatre 177 178 Appendix 1 1977 Gems, Pam. Queen Christina. RSC The Other Place 1978 Gems, Pam. Piaf. RSC The Other Place 1979 Pownall, David. An Audience Called Edouard. Greenwich Theatre Shaffer, Peter. Amadeus. National Theatre 1981 Wertenbaker, Timberlake. New Anatomies. Women’s Theatre Group at ICA 1982 Johnson, Terry. Insignificance. Royal Court Lochhead, Liz. Blood and Ice. Belgrade Theatre, Coventry 1984 Hastings, Michael. Tom and Viv. Royal Court 1985 Holliday, Joyce. Anywhere to Anywhere. Derby Playhouse Lochhead, Liz. Blood and Ice. Foco Theatre Company at Haymarket Theatre 1986 Bennett, Alan. Kafka’s Dick. Royal Court Theatre 1987 Dear, Nick. The Art of Success. RSC The Other Place Lochhead, Liz. Mary Queen of Scots Got Her Head Chopped Off. Royal Lyceum Studio, Edinburgh Whitemore, Hugh. Breaking the Code. Theatre Royal Haymarket, London 1989 Brenton, Howard. H.I.D. RSC at the Almeida Eagleton, Terry. Saint Oscar. Field Day Theatre Company at Guildhall, Derry Friel, Brian. Making History. Field Day Theatre Company at Guildhall, Derry Pinnock, Winsome. A Rock in the Water. Royal Court Young People’s Theatre 1990 Yeger, Sheila. Self Portrait. Orange Tree Richmond 1991 Yeger, Sheila. Variations on a Theme by Clara Schumann. Dartington College of Arts 1992 Bennett, Alan. The Madness of George III. National Theatre 1993 Johnson, Terry. Hysteria. Royal Court Stoppard, Tom. Arcadia. National Theatre 1994 Norton Taylor, Richard and John McGrath. Half the Picture. Tricycle Theatre Appendix 1 179 1995 Dear, Nick. The Art of Success. RSC 1996 Gems, Pam. Marlene. Oldham Coliseum Gems, Pam. Stanley. National Theatre Kent, Nicolas. Srebrenica. Tricycle Theatre Nelson, Richard. The General from America. RSC Norton Taylor, Richard. Nuremberg. Tricycle Theatre 1997 Stoppard, Tom. The Invention of Love. National Theatre 1998 Frayn, Michael. Copenhagen. National Theatre Hare, David. Judas Kiss. Almeida Theatre Company at Playhouse Theatre, London Jeffrey, Stephen. The Libertine. Out of Joint at Warwick Arts Centre Wertenbaker, Timberlake. After Darwin. Hampstead Theatre 1999 De Angelis, April. A Warwickshire Testimony. RSC The Other Place 2000 Bartlett, Neil. In Extremis Dromgoole, Dominic. Marriage in Disguise. Edgar, David. Albert Speer. National Theatre 2003 Blythe, Alecky. Come Out Eli. Recorded Delivery at Arcola Theatre, London Dallmeyer, Andrew. Hello Dalí. Edinburgh Festival Foursight Theatre. Reans Girls. Newhampton Arts Centre, Wolverhampton Frayn, Michael. Democracy. National Theatre Hare, David. The Permanent Way. Out of Joint at Theatre Royal, York Wright, Nicholas. Vincent in Brixton. National Theatre 2004 Brittain, Victoria and Gillian Slovo. Guantanamo. Tricycle Theatre Hare, David. Stuff Happens. National Theatre 2005 Graham, James. Albert’s Boy. Finborough Theatre, London Gupta, Tanika. Gladiator Games. Theatre Royal Stratford East and Sheffield Theatres Linden, Sonia. Crocodile Seeking Refuge. Ice and Fire at Lyric Hammersmith Teale, Polly. Brontë. Shared Experience at Yvonne Arnaud Theatre, Guildford 2006 Foursight Theatre. Thatcher – the Musical! Foursight Theatre at Warwick Arts Centre Zane, Adam. Village Voices. Hope Theatre Company at Taurus, Manchester 180 Appendix 1 2007 Penny Dreadful Theatre Company. The Bitches’ Ball. Edinburgh Festival and Tour Zane, Adam. Yesterday When I Was Young. Hope Theatre Company at the Lowry, Manchester 2008 Bacon, Christine. Rendition Monologues. Ice and Fire Outreach, Bridewell Theatre, London Appendix 2: Participants in the Interview Study Participant 1 is a female student of the Faculty of Architecture, 19 years old, and has extensive experience of theatre in various forms, both as a spectator and, to a certain extent, as a practitioner, both in an educational context as well as on the Edinburgh Fringe. Participant 2 is a 23-year-old, male student of Modern Languages at the Faculty of Arts, also with extensive theatre experience on both sides of the curtain. In addition to being an avid theatre goer, he participated in some professional productions in Scarborough. Participant 3 is male, 20 years old and a student at the Faculty of Engineering. He has not attended the theatre at all within the last year and had little experi- ence with theatre before. Participant 4 studies at the Faculty of Law. He is 27 years old, and has hardly any theatre experience at all. Participant 5 is a 27-year-old, female student of the Faculty of Medicine with some theatre experience in the past. Participant 6 also brings some theatre experience. She is 18 years old and studies at the Faculty of Science. Participant 7 is a female student of the Faculty of Social Sciences and has hardly any experience with theatre. 181 Appendix 3: Thatcher – the Musical! Survey This survey is part of an ongoing PhD project about people’s perception of differ- ent kinds of plays. Many questions therefore leave room for short answers in your own words. I am aware that this might require a little more of your time than simply ticking a box, but all your comments are greatly appreciated – without them it would be impossible to know what spectators really think! Please feel free to use complete sentences or just short notes, according to your own preference. THANK YOU! Your Expectations 1) What information did you have about the play before coming to the theatre? (Please tick all appropriate answers) Information about the Company Poster Title Other, please specify: 2) Why did you choose to see this play? Please state the most important reason(s) for your visit. 3) Could you say what you expected from Thatcher – the Musical! in one line? 4) How would you sum up your impression of the play after watching it? Your Reactions to the Play 5) Which elements helped you to locate when and where the action takes place? (Please list the ones you can remember) 182 Appendix 3 183 6) Which elements were most important to recognise Margaret Thatcher? (Please describe the most important ones) 7) Do you like the fact that Margaret Thatcher is played by various actresses? yes no 8) Could you explain why you did / did not like it? 9) How well do you think Thatcher – the Musical! reflects the life of the historical Mrs Thatcher? (Please circle the appropriate number on the following scale) not well at all 1 2 3 4 5 very well 10) Could you explain your answer to the previous question? 11) Do you think the play has changed your perception of the historical Mrs Thatcher? yes no 12) If yes, can you explain how far your view of her has changed? Some information about yourself 13) How old are you today? ____ years old 184 Appendix 3 14) For how many years have you lived in the UK? (Please specify absences of 6 months or longer within this time) ____ years absent from ____ to ____ 15) How many plays have you seen in the last 6 months? ____ plays Thank you very much for your help! Please hand the questionnaire to one of the stewards. If you have any further questions regarding the survey or would like to know more about its outcome, please contact me by writing to Ursula Canton. … Notes Chapter 1 – Introduction 1. In some cases the reasons for censorship overlap; thus John Osborne’s A Patriot for Me (1964) was criticised for its references to homosexuality; ‘whether Redl was a real person or not’ seemed to be of little interest to the reader (Reader’s Report cited in Shellard et al., 2004, p. 163). Similarly, the censorship of plays about Oscar Wilde was usually based on references to the author’s homosexu- ality, not because he was a recently dead person (ibid., p. 137). 2. Another aspect that influenced the choice was the availability of performance documentation and interview partners. Though highly popular, biographical one-(wo)man shows, for example, are under-represented, as documents such as video or sound recordings or even scripts often do not exist. Where it was impossible to see live performances, video recordings were used. Chapter 2 – Re-Framing the Discussion of Biographical Theatre: A Functional Approach 1. In the following, ‘truth’ will be capitalised when it refers to an absolute con- cept. The same will be done for similar concepts such as ‘Reason’, and the names of schools of thought, such as Empiricism. An exception is made for quotations. 2. Crittenden’s example for this argument lays itself open to Postmodern criti- cism, as he suggests that information about Sherlock Holmes can only be gained through reading Conan Doyle’s books, not ‘by consulting histories of Victorian London, looking through the newspapers of that era, trying to locate his letters or personal belongings, searching for his relatives or visiting the place where he lived’ (Crittenden, 1991, pp. 62–3). Including other narratives, albeit the ones labelled as factual, his argument becomes circular as he explains the differ- ence between fact and fiction with examples of what we consider to be factual or fictional.
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