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Home , A Better Class of Person, A Patriot for Me, John Osborne, Kenneth Haigh, Look Back in Anger

First reading First From 1946tothePresentDay Section 6 Literature forLife base Knowledge of writers intheUSsameperiod? conventional andanti-middleclassgroup and remember. play, read thissummary. 3. in theUKwhowere discontentedwiththeestablishment. As you know, the‘’were young adults, mainlywriters, inthe1950s b. a. 2. 1. 4. Look BackinAnger Do you know thenameofanti-  class middle  • upper-middle class • and ‘working class’(WC)? Which phrases are synonyms ornearsynonyms for ‘upperclass’(UC),‘middle class’(MC) lower-middle class • working class • Which oneismissingfrom thislist? Consider thephrases usedinEnglishto refer to thedifferent socialclasses. What doyou already know aboutJohnOsborne? NOTEBOOK c. b. a. Who … Before you read anextract from the Richardson. formed by JohnOsborneandTony and produced by Woodfall Films, acompany Kneale. Itwas directed by in 1958asafilmby John OsborneandNigel Poster of … are married? … isworking class? … ismiddleclass? proletariat bourgeoisie Look BackinAnger ______  ______blue collar aristocracy , first adapted Section 6    gentry white collar From 1946tothe PresentDay Check your notesfrom John Osborne In Brief 1

LearningModernReading about and Contemporary DramaPoetry (1956) in Anger Look Back John Osborne T 128 10 and Jimmyare reconciled. baby. HelenadecidesherlifewithJimmyiswrong andleaves. Surprisingly, Alison Some monthslater, Alisonreturns lookingdistraught andill—shehaslostthe passionate embrace —Helenastays andbecomesJimmy’s live-in lover. Jimmy Helena’s leavingnote. HelenaandJimmycontinueto fightbutendupina Helena persuades Alisonto gobackto herfamily butthenstays behindto give Helena to stay andHelenaisshockedangryatJimmy’s treatment ofAlison. Alison ispregnant buthasn’tgotthecourage to tellJimmy.Sheinvitesafriend belittling andridiculingher. them, Jimmyoftenattacks hersarcastically andvirulentlyfor herup-bringing, was from anupper-middleclassfamily and,althoughshehassevered alltieswith local marketandlives inatinyflatwithhiswifeAlisonandlodger, Cliff.Alison in lifeasasignofhisanti-establishmentarianism. Heworks onasweet stall atthe deliberately chosento give uphisuniversity educationandchancesto ‘getahead’ are inconflict? 5. 4. 3. 2. 1. 5. Summary J IMMY MP3 71 immediatamente ( hits himimmediately strikes himatonce buffo funny side( The comedy ( slaughter: ( served ourpurpose was expediency: church. wants totakeher she: lo colpisce massacro strategia Listen to andread theextract from Act IIofthetext. j. i. h. g. f. e. d. Alison. Helena ). … isregretful ofhis/heractionsintheend? … ispregnant? … issarcastic andcruel? … isalodger? … becomelovers? … iscutofffrom his/herfamily? … isanti-establishment? seek out We wereinahurry, yousee.( The lasttimeshe we knewhe’dspillthebeans expect thatsurprisesyou,doesn’t it?Itwasexpediency no use.Whenmybestman carried out found outatthelastmoment,andhadcometowatch theexecution and Iturnedup,MummyDaddywereinthechurch already. They’d slaughter and helaughs. ). here ‘ruin’ ). Il lato : Jimmy Porter isayoung,defiant,working-class intellectualwhohas The ). 11 5 ! Well, thelocalregistrar : oelclvicar some local 15 ______. HowIrememberlookingdownatthem,fullofbeer for 10. 9. 8. 7. 6. ______Yes, wewereactuallyinahurry! Hurryingforthe ) 1 ( like ashot: tutto ( would revealthesecret he’d spillthebeans: father. Daddy: ( pal: stato civile marriages ( responsible forcivil administrator registrar: in unattimo avrebbe spifferato amico was inachurchwhenshemarriedtome ______informal for‘friend’ ). ). refers toAlice’s the 12 13 ______). ufficiale di immediately who didn’t knowhimquitesowell.Butitwas — achap 9 ). The comedy Section 6 to theColonellikeashot he 6 was aparticularpal ______14 I’d metinthepubthatmorning— 15. 14. 13. 12. 11. From 1946tothe PresentDay 3 ( successfully carried out: ‘man’ ( chap: dello sposo wedding ( bridegroom ata assistant tothe best man: England ( parish intheChurchof vicar: ( seek out: avvenisse cercare of thisstrikeshimatonce Who speaksthemost? informal for the priestofa tipo ). look for prete testimone main male ). ). ). completed John Osborne 2 ). , pureandsimple. 7 10 of Daddy . Sowehadto 8 ’s, and . 4 2 I , LearningModernReading about and Contemporary DramaPoetry 23. 22. 21. 20. 19. 18. 17. 16. dell’avversario vulnerabilità ( or vulnerability opponent’s weakness smell blood ( ‘unpleasant woman’ cow: ( be takenin: ( vestry: horses ( give commandsto instrument usedto horsewhip: say ordo’( didn’t knowwhatto ‘so shockedthatshe pole-axed: banco dellachiesa ( like asackofpotatoes on thechurchbench in aheap: slumped overherpew ( intoxication’ state ofpleasant buzzed: percepisce la vacca farti fregare sacrestia era sprofondatasul sbronzo here offensivefor ). sacristy frustino slang for‘ina ). was sitting ). informal for allibita hand held : be fooled sense his ). ). ). ). ). 30 20 30. 29. 28. 27. 26. 25. 24. J H H C J IMMY IMMY LIFF ELENA ELENA qualcosa guadagnarci ( get somethingfromit Helena willhelpyouto make itpayoffforyou: Helena willhelpto ( dry up!: for cows. the Hindureverence used asanallusionto sacred cow: liquidando tutto principles’ ( abandon one’s also informalfor‘to all andclosingdown, sellingout: is left. slogan oftheradical Reason andProgress: quelle voci ( all thosestories rumors: spreading allthose borsa ( speculators share pushers: Helena tiaiuteràa piantala! diffondendo tutte speculatori in Oh,lethimgoon. : ). atro amnsadpnlis ( matter ofpaymentsandpenalties. New Economics—theofSupernatural.It’s allasimple share pushers to havebecomeasacredcow people. ( see thatthedividendsarealwaysattractive,andtheygotoright power. ( and Progress in aheap you? Helenawillhelptomakeitpayoff ( You’ve gonetoofar, Jimmy. Nowdryup! ( He cansmellblood Haven’t youfinished? breakfast, andfeelingabitbuzzed with care. Dior’s clothing?Iwilltellyouthesimpletruthabouther. ( Princes, andunabletobelievehe’dlefthishorsewhip beside her, uprightandunafraid,dreamingofhisdaysamongtheIndian going tobeachangeover. AnewBoardofDirectors old beliefs,aregoingup—andup.( going’s good vestry must havebeenmarried,Isuppose.thinkrememberbeingsickinthe remembrance suddenly. two oftheminthatemptychurch—andme.( shut up! telling people to Cliff. to Alison. ). ). ). sta a term is selling 20 . ( ). His imaginationisracing,andthewords pourout. ) I supposeyou’regoingovertothatsideaswell.Well, I whydon’t ) Facing them. 17 To Alison. Sheisacow ) Areyougoingtoletyourselfbetakenin ) — thenoble,femalerhino,pole-axed 31 29 . Thoseforgottenshares 27 , theoldfirm,issellingout 34. 33. 32. 31. who arespreadingallthoserumours by shares( corporation indicated stocks: d’Amministrazione firm ( governing bodyofa Board ofDirectors: corporation ( capital stockofa shares: sia troppotardi possible’ ( here ‘whileit’s still while thegoing’s good: 21 Was I? ) again, andhegoesoncalmly, cheerfully. Consiglio Sell outeverythingyou’vegot:allthosestocks ) ownership ofa parts ofa 23 ) I’m notsurewhathappenedafterthat.We I’m ) prima che . Iwouldn’t mindthatsomuch,butsheseems titoli azioni 24 Section 6 ). as well! ). ). ). 16 Rises. . Mummywasslumpedoverherpew 32 Gwynne asAlison. Rob Storr asCliff,Nia Laura Howard asHelena, 2009). BillWard asJimmy, (Newcastle, February directed by EricaWhyman in Anger production of  25 you hadintheoldtraditions, 26 From 1946tothe PresentDay She’s oneofthoseapocalyptic ) Northern Stage for you.She’s anexpertin the 30 ! Everyonegetoutwhilethe by JohnOsborne 18 Moves upleft. Look Back at last!AndDaddysat 28 33 19 Coming outofhis John Osborne about atransferof , whoaregoingto 22 at home.Justthe by thissaintin Articulating There’s ) Reason ) 34 3

LearningModernReading about and Contemporary DramaPoetry 39. 38. 37. 36. 35. ( indoor toilets usedtorefer be work butthetermcan comfortable andsave that makeyou conveniences: Ages ( Dark Ages: romantici ( of romanticpeople a romanticlot: guadagnarci ( everything togain’ here means‘You have the wholephrase ( a transaction’ ‘profit madefrom financial termfor ‘capital gain’isa It’s acapitalgain: migliore potrebbe essere ( a betterinvestment’ here ‘whatcouldbe stock ofhighquality, gilt-edged: what couldbemore comodità un mucchiodi Avete tuttoda reddito dacapitale quale investimento Medio Evo ). ). ). said of Middle ). things a group ). ); 80 70 60 50 40 H J H 42. 41. 40. J J J J H H H J H IMMY IMMY IMMY IMMY IMMY IMMY ELENA ELENA ELENA ELENA ELENA ELENA ( open hand slapped: ( referring to‘wind’ ‘toilet’ metaphorshere Jimmy maintainshis sounding nonsense– ecstatic wind: toilet’ (bagnoesterno). probably ‘outside tools, buthere structure forgarden shed: schiaffeggiato balle Helena, haveyoueverwatchedsomebodydie?( : small wooden , aria fritta what couldbemoregilt-edged friends whilethere’s stilltime.Andthereisn’t muchofitleft.Tell me, you can’t escapeit,soget inonthegroundfloorwithHelenaandher defenceless chivalrybylashingout her. across thetable.Hemovesslowlyup,aboveCliff,untilheisbeside at her. rise. is fullofecstaticwind No, Ihaven’t. ( Is thatmeanttobesubtle,orjustplainIrish why, ifIfindsomewomantryingtocashinon You betI’mthetype.typethatdetestsphysicalviolence.Whichis You probablywould.You’re thetype. ( I’m notverylikelytodothat. a gentleman. I hopeyouwon’t makethemistakeofthinkingforonemomentthatIam He looksdownather, agrinsmoulderingroundhismouth ( probably haveslapped ( case ofvirginity. ( Anyone who’s neverwatchedsomebodydieissufferingfromaprettybad die? you haven’t answeredmyquestion.Isaid:haveyouwatchedsomebody is theDarkAges mostly lookingforwardtothepast.Theonlyplacetheycanseelight hitting girls.( shed fought togetforcenturies.She’drathergodowntheecstaticlittle ( you can’t moveforthem.They’rearomanticlot I knowHelenaandherkindsoverywell.Infact,areeverywhere, and it’s allyours.( altogether. Shepreferstobecutofffromalltheconveniences soul, cutrightofffromtheuglyproblemsoftwentiethcentury in theold,freeinquiry. ( It doesn’t lookdignifiedenoughforyou. hit withan his grinwidens bringing hisfaceclosetohers like ice quite calmly. He waitsforhertoreply. You’ve behavedlikethiseversinceIfirstcame. ) No,don’t moveaway. ( ) 40 high- ). at thebottomofgardentorelievehersenseguilt.OurHelena ). Ifyoucomeanynearer, Iwillslapyourface. ) Gently. It’s apityyou’vebeen so farawayallthistime.Iwould ) 45. 44. 43. 38 ) . She’s movedlongagointoalovelylittlecottageofthe He movesroundthetable,backtohischair. che trattienelarabbia his anger( time tryingtokeepback smiling andatthesame round hismouth a grinsmouldering down ( you sohardyou’llfall I’ll layyouout: gentiluomo scrupoli da gentleman’ ( scruples: I’ve nopublicschool His goodhumourofamomentagodesertshim,as . I thinkyouandunderstandoneanotherallright.But Ifyouslapmyface—byGod,I’lllayout ) 41 42 ti stendo — ( Crosses toabovetable. your face.( here ‘I’mnota con unghigno ) ). he leansacrossthetableather Non ho She remainsseated,andlooksupathim. Section 6 I’ll hit 35 ). : than thenextworld!It’s acapitalgain ) I’ve nopublicschoolscruples I’ve ) 47 ). with herfraillittlefists They lookintoeachother’s eyes 49. 48. 47. 46. From 1946tothe PresentDay incomprensibile? essere sottileo nonsense? ( clever orspeaking Were youtryingtobe subtle orjustplainIrish?: Is thatmeanttobe fists: ( making asuddenattack by lashingout: ( advantage of cash inon: 49 attaccando approfittarsi di ? ) The BigCrashiscoming, The ) closed hands( 37 46 . Theyspendtheirtime She makesamoveto what shethinksismy take Intendevi ). John Osborne by ). ). pugni 48 aren’t you? ) , Ilashback 43 You see. ) ). . 39 44 about we’ve 45 . 36 4 ) , LearningModernReading about and Contemporary DramaPoetry 110 100 90 56. 55. 54. 53. 52. 51. 50. H ELENA le lacrime ( try nottocry fight backmytears: attention ( fuss: to Spanishfascists. gentlemen: certain god-fearing pena just ( barely: ( bewildered: d’un fiato ( without control expressing freely, pouring out: febbricitante ascoltava quelfallito ( unsuccessful man that illand person thatlistenedto listen tohim: failure ofamanhadto All thatfeverish ricacciare indietro sgomento raccontanto tutto L’unico che unnecessary ). a stento hardly, only it wastobeangry—andhelpless.AndIcanneverforgetit.( I knewmoreabout—love…betrayal quietly, withouttoomuchvulgarfuss family senthimachequeeverymonth,andhopedhe’dgetonwithit ones. ( associated withminorities,providedtheywerethesmart,fashionable seemed tobeonthewrongsideinallthings.Mymotherwasforbeing could thinkaboutwasthefactthatshehadalliedherselftoamanwho ( him, hedidn’t havelonglefttolive.Everyoneknewit—evenIit. Time wewent little boy, whocouldbarely Embarrassed andirritated.( the window. see. Andcertaingod-fearinggentlemen — whenIwastenyearsold.He’dcomebackfromthewarinSpain,you he beginstoremember. man. ( They allsitsilently. Presently, Helenarises. old thanyouwillprobablyeverknowallyourlife. feel wasthedespairandbitterness feverish failureofamanhadtolistenhim veteran. ( to me,Ihadfightbackmytears Every timeIsatontheedgeofhisbed,tolistenhimtalkingorreading But Iwastheonlyonewhocared!( suppose shewascapableofthat.( without complaining,andthatwasaboutall.Perhapsshepitiedhim.I hours, pouringout I spenthouruponinthattinybedroom.Hewouldtalktomefor He movesright. tante storie ). ). ). here refers perplexed ). , The only a mala He movesaroundthechair. He movesupcentreagain. He leansforward onthebackofarmchair. ). His familywereembarrassedbythewholebusiness. ) 59 directed by EricaWhyman (Newcastle, February 2009).  58. 57. . But,yousee,Iwastheonlyonewhocared.( ) ( being disloyal betrayal: ( bitterness: Northern Stage production of 54 tradimento amarezza all thatwasleftofhislifetoone,lonely, bewildered Fortwelvemonths,Iwatchedmyfatherdying ) the actof 56 rancour ). ). understand halfofwhathesaid.Allcould Looking out. Section 6 52 We allofuswaitedforhimtodie.The ) With akindofappealinhisvoice. He movesleft,behindthearmchair. You see,Ilearntatanearlyagewhat ) . Attheendoftwelvemonths,Iwasa 58 57 … anddeath,whenIwastenyears 59. , thesweet,sicklysmellofadying 50 51 From 1946tothe PresentDay . Mymotherlookedafterhim Look BackinAnger there hadmadesuchamessof andiamo ( for ustogo Time wewent: È orachecene ) As formymother, As allshe ) 53 was asmall,frightenedboy. ). John Osborne It’s time by JohnOsborne Allthat ) Turns to Sits. 55 5 ) ) )

LearningModernReading about and Contemporary DramaPoetry Content In moredetail and themes language Characterisation, and theinformation aboutthem. grinning, beingingoodhumour.     12. b. a. 11. d. c. b. a. 10.    9. People 8. Line(s) Line(s) Line(s) 7. Monologue 3 • Monologue 2 • Monologue 1 • 6. of dialogue. Jimmy makes three longmonologueswhichare interspersed withbriefsections through hischaracter Jimmy. Work withapartnerto findoutmore. The extract isagoodexample ofthekind‘anger’thatOsbornewanted to show following summariesoraddyour own. Why was Jimmy theonlyonethere listeningto thedyingman? g. f. e. d. c. b. a. Why was hedying? Who didJimmy watch dying? Look backatthethird monologue. c. b. a. What isJimmy’s pointinthesecondmonologue, doyou think? Focus onhisfirst monologue. c. b. a. In whichofthethree monologuesdoesJimmy … Mark thebeginningandendofeachmonologue. savage tender frank dissatisfied Which ofthesewords would you associate withJimmy? and sarcastic? Why doyou thinkso? Do you thinkJimmy isgenuinelyhappy orishistypeofhumourbitter, angry Find examples ofthesestage directions. In thestage directions there are references to Jimmy laughing,feelingcheerful, How oldwas Jimmy atthetime? ______a crash intheeconomy. He says thatCliffshouldhurryto make investments before itistoo lateandthere is system which,intermsofprogress, isastepbackwards rather thanastepforwards. He says thattruesocialismisbeingreplaced by anew capitalist andmaterialistic everyone willbeableto afford whatthemiddleclassnow have. He says that’s the‘New Economics’are moving thecountryforward to atime when Alison’s Dad Alison’s Mum Jimmy Alison’s MumandDad Jimmy’s bestman A localvicar Jimmy andAlison ecieapro fhscidod Monologue Monologue Monologue pour outhisfeelingsofangerconcerningbourgeois … economics? … tellthestory ofhisand Alison’s wedding? … describeaperiodofhischildhood?     intelligent perspicacious cruel eloquent ______Match thepeopleatwedding ______    7. 6. 5. 4. 3. 2. 1. Information Answer thequestions. Section 6 “… inahurry” “a chapI’dmetinthepubthatmorning” “full ofbeerfor breakfast”, vomited “inthevestry” “slumped over”, like apole-axed “femalerhino” had his“horsewhip” withhim “the Colonel”,“dreaming” ofIndia,wishinghe didn’t know Alison’s Dad“quitesowell” there “to watch theexecution” angry spontaneous evil sarcastic From 1946tothe PresentDay   powerful helpless John Osborne Choose from the ______6

LearningModernReading about and Contemporary DramaPoetry Conclusions ‘‘ things abouttheplay. Whichdoyou agree with? of attentionandwas reviewed by numerous critics. 16. appropriate words. from thetext. unable to stand upto Jimmy andhistirades?   15. b. a. 14. 13. look for areconciliation withAlison. live by, have beenbetrayed. ourselves thatlifeisworth living. • • • • • • • When theplay artificial naturalistic What kindoflanguagedothecharacters useintheirdialogue? in thefightordoesheinferthey are againsthim,too? Does Jimmy puthiswife, hismother, Cliffthelodger, hiswife’s friendHelenaonhis‘side’ (the real working class, thosewithgenuinesocialistideals, theunderprivileged,etc.). and “us” thesocialclimbers, ex-public schoolboys, ‘gentlemen’,theprivileged,etc.) right-wing, there beingtwo sidesinthefight—“them”(theestablishment, themiddleclass, the Find examples inthemonologuesanddialogueofwhenJimmy underlineshisideaof Jimmy seemsto bewaging abattle. Would you say thatHelenaiscompletelyable, partlyable, orcompletely The moodandthelanguageofplay are utterlyconvincing. The endingoftheplay isunconvincing.Jimmy isnotthe kindofperson whowould Jimmy isconvincedthattheprinciplesoftruesocialism,like thosehisfather soughtto His tirades are extremely funny aswell aspainful. He hasseenthrough allthetricksofself-deceptionby whichwe peoplepersuade Jimmy punisheshimselfandeveryone around him. Jimmy Porter isabrilliantyoung intellectual.   Look BackinAnger figurative plain   formal colloquial was first staged in1956,itattracted alot Section 6 Support your answer withevidence The criticssaidallofthefollowing From 1946tothe PresentDay Thompson. Branagh andEmma in 1989starred Kenneth A television version McDowell andLisaBanes. in 1980,starring Malcolm A secondfilmwas made and Tony Richardson. formed by JohnOsborne Films, acompany and produced by Woodfall by Tony Richardson Kneale. Itwas directed by JohnOsborneandNigel adapted in1958asafilm from and Claire Bloominastill  John Osborne Look BackinAnger Choose some ‘‘ , 7

LearningModernReading about and Contemporary DramaPoetry RESEARCH DOCUMENTS John Osborne

NOTEBOOK Take notes and make a presentation. a. Work as a class or cooperate in groups to investigate these questions about John Osborne Investigating and his times. Consult the following Documents and the reference sections (Context and Glossary of Literary Terms). b. Report back to the class or in new groups about what you have learned.

Question 1. You have formed an idea that the anger of Question 2. You have seen how the play Look Back Osborne (and Jimmy) and others like him was against the in Anger has been referred to as ‘kitchen-sink drama’, ‘Establishment’. But what further details can you find out and that Osborne is described as one of the ‘Angry about the social and historical context in which this anger Young Men’ of 1950s Britain. His work is, in fact, part emerged, given that it was a period of economic prosperity of a wider trend referred to as ‘’. and security in Britain? Find out, too, how much of Jimmy’s Find out more about all three phrases and the figures story and his frustrations are based on the true-life story who were most associated with them. of the playwright himself by investigating his life.

D1 ■ In 1944 the wartime coalition government (1940-45) Britain brought in the Education Act, which established a In this document framework for education and which made state education you will find in the 40s information on and 50s entirely free. It also provided free milk, free school meals, what happened in and medical inspections for all children, it changed the Britain at the period school leaving age to 15 and divided primary education Osborne was rom 1945-51, Britain was from secondary education at the age of 11 when a test would be taken to place children in the secondary school writing. It points under a Labour Government out the positive F most appropriate for their ability. Although it was supposed led by the Prime Minister aspects as well as to ensure that good secondary education was open to the negative Clement Attlee. One of its main people of all classes and means, it was still often the case consequences aims was the creation of the that the majority of children who passed the exam and which aroused ‘welfare state’, which would therefore went on to ‘grammar’ school were of middle and the disaffection guarantee a minimum income, upper class backgrounds. The few working class children of many ensure assistance to all in intellectuals, who passed often felt ostracised and out of place among especially sickness, old age and their peers, both at school and later at university. unemployment, and offer a range intellectuals ■ In housing, over 80% of constructions were council of the working class. of social services (including education) which was of the best housing which was intended to solve the housing problems of lower income groups, but which often led to the standard without distinction of creation of council house areas — a kind of status or class. ghetto-isation and therefore a further underlining of economic and class differences. ■ National Insurance intended to offer coverage against all major risks ■ There was a general political commitment to eliminating from ‘the cradle to the grave’. However, in reality, the low level of as much as possible unemployment. Industries were payments to recipients did not ensure against extreme poverty, creating nationalised and/or made to run efficiently and there was a the need for supplementary benefits. The unemployed and low income post-war boom in the international economy as countries groups were still very aware of being the recipient of a kind of charity and re-built their towns and industries. The positive economic disdain from ‘them’ — the officials and officers who assessed their means situation led to the emergence of an intensely consumerist and made decisions which affected their lives continually. society with a high demand for the latest in clothing, ■ The National Health Service offered medical assistance to all. household appliances, cars, holidays, etc. being reinforced Although the service drew heavily on Government budgets, it was (and is) by the mass media — millions of people now owned their an extremely popular institution and has the wide support of the medical first TV. Consumerism was a sign of economic well-being profession. It was, however, often true to say that private health care but was also criticised as a sign of spiritual poverty — post- provided a higher standard and a prompter service, underlining class war Britain was a country in which money and possessions differences once again. had become the prime objective.

Section 6 From 1946 to the Present Day John Osborne 8 D2 BIOGRAPHY This document contains John Osborne information about (1929-94) the life and works of Osborne. Investigating born John Osborne was the son of a lower-middle class commercial artist who married a publican’s daughter. Family life was not particularly happy for young John as he later recounted in his autobiography (1981). Osborne’s father, to whom he was very close, died in 1941 after a long illness and John was devastated by the loss. In contrast he described his mother as: “the grabbing, uncaring crone of my childhood”. Osborne was educated at state schools until 1943 when he attended an inferior boarding school in Devon. Intelligent but outspoken and rebellious, he was finally expelled for hitting the headmaster, leaving after only two years. He returned to London and started work as a journalist for trade papers but soon abandoned this career for  John Osborne in 1957. the theatre. He worked as a stage manager for a touring theatre company, was soon offered small acting roles and by the early 1950s he was employed steadily as an actor, mainly touring in . Filling time in dressing rooms and between jobs Osborne started writing. He co-wrote two plays before being compelled to write , a reaction to his first, failing marriage, his life in seedy rented accommodation and his disillusionment with post-war England. He said of the period: “I believe we started out with hope, and hope deferred makes the heart sick, and many hearts are sick at what they see in England now.” The vitriolic, iconoclastic Jimmy Porter was the voice of Osborne and many young people of his generation. However, Osborne claimed that Look Back in Anger was not predominantly a political play: “I want to make people feel, to give them lessons in feeling. They can think afterwards.” The English Stage Company at the Royal Court in London, a famous venue for new and experimental drama, took the risk of staging Look Back in Anger on 8th causing a major stir throughout the theatre world. The London public, sedated by comedies and dramas portraying the upper classes in their comfortable surroundings, had never experienced a play of such unsparing anger and honesty. Osborne continued his success with (1957), commissioned by the actor , and maintained his technique of portraying one dominating character in the plays (1961), (1961) and (1964). Although he continued to write plays over the next decades, they did not receive the same critical acclaim as his earlier work. Osborne wrote for TV and film including the screenplays Tom Jones (1963) and The Charge of the Light Brigade (1968). He became a theatre director and occasionally acted in films or on stage. Married five times, Osborne continued to be an uncompromising, controversial figure in public and in private. In 1991 the second part of his autobiography Almost a Gentleman was published. He lived his last years in the Shropshire countryside and died of complications with diabetes on 24th December 1994.

 John Osborne’s Look Back to the new English Stage Company. in Anger at the Royal Court This company was founded in 1957. When Osborne’s script in 1955 to promote new plays came into the hands of the by contemporary authors Artisitc Director, , and Devine realised that Osborne’s Devine snapped up the chance play would “blow a hole of staging the play at the Royal in the old theatre”, as he put it. Court, home at that time

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