DOCSLIB.ORG

Guide to Further Reading

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Guide to Further Reading Guide to Further Reading Bibliographies which simply list title after title have never seemed to me particularly useful. This essay tries to survey the material available on the various individuals and theatres covered in the book. The place of publication is London unless stated otherwise. General There is no general account of the history of alternative and experimental theatre in Britain. The nearest to it is David Bradby and John McCormick People's Theatre (Croom Helm, 1978); this covers Britain, France, the Soviet Union, the United States and Germany in less than 160 pages, so the observations as regards Britain are necessarily brief. Theatre Quarterly (vol. 1, no. 4, October-December 1971) is devoted solely to articles on 'People's Theatre'. History Workshop (4, Autumn 1977) contains some wideranging articles on the Workers' Theatre Movement. Expanded versions together with new work are in R. Samuel, E. MacColl and S. Cosgrove, Theatres of the Left 1880-1935 (Routledge and Kegan Paul, 1985). Look too at the essays in D. Bradby, L. James and B. Sharratt (eds), Performance and Politics in Popular Drama (Cambridge University Press, 1981). The journal Theatre Quarterly, published from 1971, often included interesting historical material. 210 Guide to Further Reading 211 1 The Great Bard and All That What is needed is a book which looks at just how Shakespeare's plays have been staged and interpreted since the sixteenth century. Until then we have to rely on Gamini Salgado's Eyewitnesses ofShakespeare (Sussex University Press, 1975). Peter Brook in his The Empty Space (Penguin, 1972) distinguished certain strands within the theatre, but I don't think his model is as helpful as mine (yes, well, I wouldn't, would I?).John Pick's view of the West End stage is apparent from his title alone: The West End: Mismanagement and Snobbery (Eastbourne: John Offord, 1983). 2 Stage Melodrama in the Nineteenth Century There are several good histories of stage melodrama, among them Frank Rahill, The World of Melodrama (Pennsylvania University Press, 1967), M. R. Booth, English Melodrama (HerbertJenkins, 1965) and a number of older books by M. W. Disher including Blood and Thunder (Muller, 1949). A. E. Wilson's East End Entertainment (Arthur Barker, 1954) is a lively but unreliable account of the minors in the East End. Useful essays with copious footnotes are in the Bradby, James and Sharratt collection (see above). Some Victorian melodramas have been reprinted, for example James L. Smith, Victorian Melodrama (Dent, 1976). 3 The Rise of the West End The standard histories - George Rowell's The Victorian Theatre (Cambridge University Press, 1978), J. C. Trewin's The Edwardian Theatre (Blackwell, 1976) and Allardyce Nicoll's volumes - are of only moderate use. Much more illuminating are Michael Baker, The Rise of the Victorian Actor (Croom Helm, 1978) and Peter Bailey, Leisure and Class in Victorian England (Routledge and Kegan Paul, 1978). Anna Miller's The Independent Theatre in Europe (reissued New York, Blom, 1966) is 212 Guide to Further Reading indispensable. John Stokes, Resistible Theatres (Paul Elek, 1972) should be better known. As for Morris and Shaw, consult the various biographies. A Marxist view of Shaw's plays is in Alick West, A Good Man Fallen Among Fabians (Lawrence and Wishart, 1950). Ian Britain, Fabianism and Culture (Cambridge University Press, 1982) is important. Brief but revealing is the chapter in Holbrook Jackson, The Eighteen Nineties (Penguin, 1939). The only book devoted to the Court Theatre under Barker and Vedrenne is D. MacCarthy, The Court Theatre 1904-1907 (Bullen, 1907) - another is needed. 4 Regional, Nationalist and Yiddish Theatre There are several good accounts of the Abbey Theatre whether by participants such as Lady Gregory (Our Irish Theatre, Putnam, 1914) or Lennox Robinson (Ireland's Abbey Theatre, Sidgwick and Jackson, 1951; he also edited The Irish Theatre, Macmillan, 1939); or in more general histories: Una Ellis­ Fermor, The Irish Dramatic Movement (Methuen, 1939), Peter Kavanagh, The Irish Theatre (Ireland: Kerryman, 1946), Michael 0 hAodha, Theatre in Ireland (Blackwell, 1974). For the various repertories see the individual histories cited in the footnotes. But see in particular P. P. Howe, The Repertory Theatri(Secker and Warburg, 1910), Cecil Chisholm, Repertory (Peter Davies, 1934) and Rex Pogson, Miss Horniman and the Gaiety Theatre, Manchester (Rockliff, 1952). A good starter for the history of the Scottish theatre is David Hutchison, The Modern Scottish Theatre (Glasgow, Molendinar Press, 1977). Norman Veitch in The People's provides an excellent account of the life and struggles of a little theatre (Gateshead, Northumberland Press, 1950). There is no general account of the Clarion movement let alone its cultural activities. Nor is there of the Yiddish theatre. A good chapter in M. J. Landa, The Jew in Drama (P. S. King, 1926) is devoted to the topic; otherwise see Lulla Rosenfeld's biography of Jacob Adler, Bright Star of Exile (New York, Crowell, 1977) and the useful essay by A. B. Levy in the East London Papers ofJuly 1963 Guide to Further Reading 213 together with numerous memoirs and autobiographies. But all in all, another gap waiting to be filled. 5 Women in the Theatre Excellent on the Actresses' Franchise League is] u1ie Holledge, Innocent Flowers (Virago, 1981). A general history is Rosamond Gilder, Enter the Actress (Harrap, 1931) and a more recent account, Michael Sanderson, From Irving to Olivier (Athlone, 1984). Lively as always is Richard Findlater, The Player Queens (Weidenfeld and Nicolson, 1976). A valuable short essay is Elizabeth Robins, Ibsen and the Actress (Hogarth Press, 1928). Autobiographies by Robins, Lena Ashwell, M. W. Nevinson and Cicely Hamilton - see footnotes - tell us much about theatrical attitudes of the time regarding actresses. Otherwise I read my way through the suffragettes' weekly, VotesJor Women. Some AFL documents and plays are in the British Library but more particularly in the Fawcett Library at the City of London Polytechnic. 6 Between the Wars: the 'Little Theatre Movement' Norman Marshall, The Other Theatre Uohn Lehmann, 1947) is an excellent survey of the inter-war period. A contemporary account is Huntley Carter, The New Spirit in the European Theatre 1914-24 (Benn, 1925). Of the various initiatives discussed see Michael Sidnell's thorough Dances ojDeath (Faber, 1984) about the Group Theatre which should be complemented by the more personal and moving Robert Medley, Drawn Jrom the Life (Faber, 1983). For Terence Gray see Richard Cave, Terence Gray and the Cambridge Festival Theatre (Cambridge, Chadwyck­ Healey, 1980) which accompanies a set of 50 slides. There are several articles and essays about the Maddermarket in Norwich, most of which can be consulted at the Norwich Public Library, but no full-length book other than the collected reviews by Charles Rigby, Maddermarket Mondays (Norwich, Roberts, 1933). For the repertories, see the footnotes. 214 Guide to Further Reading 7 Between the Wars: the Political Theatre Groups In recent years there has been an explosion of interest in the Workers' Theatre Movemen t - see for exam pIe History Workshop (4) and R. Samuel etc. (above). The first book was Ness Edwards, The Workers' Theatre (Cardiff, Cymric, 1930) of which a copy exists at the British Library. Unity Theatre has not been so well covered but Colin Chambers is engaged on writing what should be a definitive account to be published by Lawrence and Wishart. There are numerous pamphlets issued at the time: the Unity Theatre Handbook of 1939 and People's Theatre ofc. 1946. For good studies of local Unity theatres see Angela Tuckett, The People's Theatre in Bristol193~5 (Our History 72, no date) and Jerry Dawson, Lift Theatre (Liverpool, Merseyside Writers, 1985). Also look at Ray Waterman on Proltet in History Workshop (5 Spring 1978), Malcolm Page on the early history of Unity in Theatre Quarterly (Vol. I, no. 4, October-December 1971), and the two essays by Andre van Gyseghem and Jon Clark inJ. Clark et al. (eds) Culture and Crisis in Britain in the '30's (Lawrence and Wishart, 1979). The three articles by Dr Len Jones are referred to in the footnotes. I also read my way through the newspapers and periodicals of the 1930s - Daily Worker, Lift Review, Lift News, New Leader, Clarion, New Statesman, Amateur Theatre, Drama - which does throw up much information on the period even ifit takes quite some time. Relevant material is held at the Victoria and Albert Museum and at the Marx Memorial Library in London, e.g. a copy of the thesis by Ron Travis on Unity between 1936 and 1946. 8 The War Years Nor very much to report, unfortunately because this is a highly illuminating saga. Best to start with Ann Davies, The Theatre (Bodley Head, 1948), Mary Glasgow and Ifor Evans, The Arts in England (Faber, 1949) and Robert Speaight's essay in Since 1939 (Phoenix, 1949). Informative is Peter Noble, The British Theatre (British Yearbooks, 1946). Revealing isJack Lindsay's pamphlet, British Achievement in Art and Music (Pilot Press, 1945) Guide to Further Reading 215 and his After The Thirties (Lawrence and Wishart, 1956). Broader cultural overviews are in Janet Minihan, The Nationalization of Culture (Hamish Hamilton, 1977) and Robert Hewison, Under Siege (Quartet, 1979); for the overall picture see Angus Calder, The People's War (Panther, 1971) and my more slender Where Did the Forties Go? (Pluto, 1984). 9 After 1945 For London Unity see the sources mentioned above in Chapter 7. For Glasgow Unity John Hill's article in Theatre Quarterly of Autumn 1977 and some ofthe articles in New Edinburgh Review (no. 40, February 1978). The Theatre Conference episode is chronicled in New Theatre and in J. B. Priestley's books and essays of the time.
Load more

Recommended publications
  • April 2020 • Issue 2 PROSPERO
    The newspaper for retired BBC Pension Scheme members • April 2020 • Issue 2 PROSPERO REMEMBERING A GOLDEN AGE OF FILM PAGE 8 PENSION SCHEME | BBC PENSIONS PAUL BOHAN AT 100: ‘A REMARKABLE MAN’ Former BBC broadcast engineer Paul Bohan recently celebrated his 100th birthday, and BBC Volunteer Visitor Arthur Masson caught up with him to talk about the interesting times – and places – he’s seen in his long life. aul was born in Bishop Auckland, County He arrived at Stoney Cross and joined a unit servicing Durham, on 24 November 1919. aircraft, for approximately a year. He was then transferred to RAF Marham, and then to RAF PHe was educated at a council school in Byers Mildenhall. Eventually, with his service completed, Green village, where he obtained the first of many he was released in March 1947. (It is perhaps worth ‘accomplishments’, his 11-plus certificate! He was then posted to Meldrum and completed noting that, as he had passed the Commission 12 years as a TV engineer. He left school at 16 and joined the RAF, completing an examinations, if he had remained in service he would 18-month course at Cranwell as a wireless operator, then, have been a Commissioned Officer.) He was offered early retirement, which he accepted after successfully qualifying, went to RAF Thornaby. at the ‘ripe old age’ of 58 and joined Aberdeen After leaving the RAF he joined BOAC, which was the University Language Laboratory as their recording After one year, he went back to Cranwell for another state airline, and was posted to Sudan (Wadi-Halfa).
    [Show full text]
  • Joan Littlewood Education Pack in Association with Essentialdrama.Com Joan Littlewood Education Pack
    in association with Essentialdrama.com Joan LittlEWOOD Education pack in association with Essentialdrama.com Joan Littlewood Education PAck Biography 2 Artistic INtentions 5 Key Collaborators 7 Influences 9 Context 11 Productions 14 Working Method 26 Text Phil Cleaves Nadine Holdsworth Theatre Recipe 29 Design Phil Cleaves Further Reading 30 Cover Image Credit PA Image Joan LIttlewood: Education pack 1 Biography Early Life of her life. Whilst at RADA she also had Joan Littlewood was born on 6th October continued success performing 1914 in South-West London. She was part Shakespeare. She won a prize for her of a working class family that were good at verse speaking and the judge of that school but they left at the age of twelve to competition, Archie Harding, cast her as get work. Joan was different, at twelve she Cleopatra in Scenes from Shakespeare received a scholarship to a local Catholic for BBC a overseas radio broadcast. That convent school. Her place at school meant proved to be one of the few successes that she didn't ft in with the rest of her during her time at RADA and after a term family, whilst her background left her as an she dropped out early in 1933. But the outsider at school. Despite being a misft, connection she made with Harding would Littlewood found her feet and discovered prove particularly infuential and life- her passion. She fell in love with the changing. theatre after a trip to see John Gielgud playing Hamlet at the Old Vic. Walking to Find Work Littlewood had enjoyed a summer in Paris It had me on the edge of my when she was sixteen and decided to seat all afternoon.
    [Show full text]
  • The Commercial & Artistic Viability of the Fringe Movement
    Rowan University Rowan Digital Works Theses and Dissertations 1-13-2013 The commercial & artistic viability of the fringe movement Charles Garrison Follow this and additional works at: https://rdw.rowan.edu/etd Part of the Theatre and Performance Studies Commons Recommended Citation Garrison, Charles, "The commercial & artistic viability of the fringe movement" (2013). Theses and Dissertations. 490. https://rdw.rowan.edu/etd/490 This Thesis is brought to you for free and open access by Rowan Digital Works. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of Rowan Digital Works. For more information, please contact [email protected]. THE COMMERCIAL & ARTISTIC VIABLILITY OF THE FRINGE MOVEMENT By Charles J. Garrison A Thesis Submitted to the Department of Theatre & Dance College of Performing Arts In partial fulfillment of the requirement For the degree of Master of Arts At Rowan University December 13, 2012 Thesis Chair: Dr. Elisabeth Hostetter © 2012 Charles J. Garrison Dedication I would like to dedicate this to my drama students at Absegami High School, to my mother, Rosemary who’s wish it was that I finish this work, and to my wife, Lois and daughter, Colleen for pushing me, loving me, putting up with me through it all. Acknowledgements I would like to express my appreciation to Jason Bruffy and John Clancy for the inspiration as artists and theatrical visionaries, to the staff of the American High School Theatre Festival for opening the door to the Fringe experience for me in Edinburgh, and to Dr. Elisabeth Hostetter, without whose patience and guidance this thesis would ever have been written.
    [Show full text]
  • Breathtaking Stories of Extreme Filming. Read the Full Story on Page 6
    The newspaper for BBC pensioners - with highlights from Ariel Heights, Camera, Action Breathtaking stories of extreme filming. Read the full story on page 6. June 2011 • Issue 4 Yes, Prime Lord Patten Minister back takes the helm Sounds better? on stage Page 2 Page 7 Page 12 NEWS • LifE aftEr auNtiE • CLaSSifiEdS • Your LEttErS • obituariES • CroSPEro 02 uPdatE froM thE bbC Patten takes helm at BBC Trust On 3 May, Lord Patten began his appointment as chairman of the BBC Trust – with an interesting first day spent taking questions from staff in a ringmain session. Quality First) should be all about and I hope we’ll be able to discuss options with the Executive during the summer.’ 2011 pay offer It is also apparent that the new chairman is ready and willing to deal with the – an update repercussions of the less popular decisions to be taken, and those which will not always Further to requests by the unions for all be accepted gladly by the licence fee payer. staff in bands 2-11 to be awarded a pay ‘I hope we won’t be talking about closing increase which is ‘substantially above services but, whatever we are talking about inflation’, the BBC has offered a 2% doing, if the Trust and the Executive are increase – which falls far short of the agreed it is the best way of using the money Retail Prices Index (RPI) figures on which then we have to stand by the consequences. If it is intended to be based (5.2% as at that involves answering thousands of emails, April 2011).
    [Show full text]
  • The Ideal of Ensemble Practice in Twentieth-Century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London P
    The Ideal of Ensemble Practice in Twentieth-century British Theatre, 1900-1968 Philippa Burt Goldsmiths, University of London PhD January 2015 1 I hereby declare that the work presented in this thesis is my own and has not been and will not be submitted, in whole or in part, to any other university for the award of any other degree. Philippa Burt 2 Acknowledgements This thesis benefitted from the help, support and advice of a great number of people. First and foremost, I would like to thank Professor Maria Shevtsova for her tireless encouragement, support, faith, humour and wise counsel. Words cannot begin to express the depth of my gratitude to her. She has shaped my view of the theatre and my view of the world, and she has shown me the importance of maintaining one’s integrity at all costs. She has been an indispensable and inspirational guide throughout this process, and I am truly honoured to have her as a mentor, walking by my side on my journey into academia. The archival research at the centre of this thesis was made possible by the assistance, co-operation and generosity of staff at several libraries and institutions, including the V&A Archive at Blythe House, the Shakespeare Centre Library and Archive, the National Archives in Kew, the Fabian Archives at the London School of Economics, the National Theatre Archive and the Clive Barker Archive at Rose Bruford College. Dale Stinchcomb and Michael Gilmore were particularly helpful in providing me with remote access to invaluable material held at the Houghton Library, Harvard and the Harry Ransom Center at the University of Texas, Austin, respectively.
    [Show full text]
  • Second Part of 'The Class Struggle in Local Affairs'
    Second part of 'The Class Struggle in Local Affairs' - 13 - of the big obstacles to working-class activity in local affairs was the holding of Council meetings during the daytime. In Liverpool, when the local Council had in call a statutory Town's Heating of citizens to sanction the borrowing of money, the meeting would be arranged for 9.30 a.m. in a private house. But on e day in the l880's this cosy Council had a shock. A meeting had been called to sanction the building of a fever hospital. James Sexton, leader of the Liverpool dockers, tells the story in his autobiography: "A few of us went down to the docks, taking ray two lorries, to which we added two hired carts. These we loaded up with dockers who had failed to get work that morning, and drove in state to the meeting, to which we demanded admittance as ratepayers and burgesses. "The room in which it was being held might perhaps have accommn- -dated a gathering of twelve people, providing none of them was more than eight stone in weight. It was impossible for us to get in. The best we could do was to secure an adjournment to a more convenient place --the Town Hall - at a more convenient hour." The dockers attended the adjourned meeting, and said what they thought of the terrible housing conditions that had made a fever hospital so nece- -ssary. From that time the Liverpool Labour movement began to put up candidates for the municipal elections, though it was many years before they won a victory, The Socialists arrive In the 1870's the Trade Union movement was becoming interested in the idea of "Labour Representation" in Parliament, but this was not yet seen as "independent" representation (i.e.
    [Show full text]
  • Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland
    Media Culture for a Modern Nation? Theatre, Cinema and Radio in Early Twentieth-Century Scotland a study © Adrienne Clare Scullion Thesis submitted for the degree of PhD to the Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. March 1992 ProQuest Number: 13818929 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 13818929 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106- 1346 Frontispiece The Clachan, Scottish Exhibition of National History, Art and Industry, 1911. (T R Annan and Sons Ltd., Glasgow) GLASGOW UNIVERSITY library Abstract This study investigates the cultural scene in Scotland in the period from the 1880s to 1939. The project focuses on the effects in Scotland of the development of the new media of film and wireless. It addresses question as to what changes, over the first decades of the twentieth century, these two revolutionary forms of public technology effect on the established entertainment system in Scotland and on the Scottish experience of culture. The study presents a broad view of the cultural scene in Scotland over the period: discusses contemporary politics; considers established and new theatrical activity; examines the development of a film culture; and investigates the expansion of broadcast wireless and its influence on indigenous theatre.
    [Show full text]
  • Report of the Conference on Labour
    REPORT OF THE second Jlnnual Conference OF THE LABOUR REPRESENTATION Co:tHITTEE HELD L TH'.E CENTRAL HALL CORPORATION STREET. BIRMINGHAM. On Thursday, February 20th, 1902, ~ o The Labour Representation Committee, 3, LI TCOL 'S I N FIELDS, LONDON, w.c. AC D J. RAMSAY MACDONALD, Secretary. 49 OFFICERS AND MEMBERS OF THE LABOUR REPRESENTATION COMMITTEE, ELECTED 21ST FEBRUARY, 1902. Trade Unions, Chairman: R. BELL, M.P. Amalgamated Railway Servants. Vice-Chairman: J. HODGE Steelsmelters. Treasurer: F. ROGERS Vellum Binders. W. B. CHEESMAN, Fawcett Association I ALLE GEE, Textile Worker PETE CURRAN, Gasworkers J. SEXTON, Dock Labourers C. FREAK, Boot & Shoe Operatives I A. WILKIE, Shipwrights Trades Councils. WM. PICKLES - - Huddersfield Trades Council. Independent Labour Party J. KEIR HARDIE, M.P. I COUNCILLOR JAMES PARKER. Fabian Society. EDWARD R. PEASE: SECRETARY: J. RAMSAY MACDONALD, L.C.C., 3, LINCOLN'S INN FIELDS, LONDON, w.c 50 NAMES AND ADDRESSES OF DELEGATES ATTENDING THE CONFERENCE, TRADE UNIONS. SOCIETY. DELEGATE . Blastfurnacemen, National Federation ... P. Walls, Moss Bay, Workington. Bookbinders' ,,net Machine Rulers' Consolidatecl. Mat, hew Ri<liey, 5, Mulberry Street, Hulme, Man- U nion. chest er. James Kelly, 59, Grosvenor Street, C-on-:vf., Man­ chester. Baot and Shoe Operatives, National Union of ... C. Freak, 31, Al,ney Street, Leicester. Councillor J. F. Richards, 181, Belgrave Gate, Leicester W. B. Hornidge, r 2, Paton Street, Leicester. Brassworkers, National Amalgamated .. T- Ramsden, 70, Lionel S1reet, Birmingh:im. W. J. Davis, 70, Lionel Street, Birmingham. Brushmakers, Amalg!:l.mated Society of ... G. Freeman, 43, Wright Street, mall Heath, Birmingham. Builders' Labourers Union, United F.
    [Show full text]
  • President's Letter
    PRESIDENT’S LETTER October-November, 2020 Dear Friends, It may seem a little premature to extend our very best wishes to you now for the approaching holidays, Christmastime and the New Year. However, this has indeed been a strange year like no other. As this is the final Foundation Newsletter of 2020, it is our pleasure to wish you, our Friends, perhaps the earliest but warmest greetings for the forthcoming festive season. OUR HALLS ARE ALIVE WITH THE SOUNDS OF MUSIC Responding to the present urgent need for accessible and affordable teaching, coaching and rehearsal space, the Foundation continues to make the Seaborn Library, with its grand piano and suitable acoustic, available to performing artists. As mentioned in the last Newsletter, Les Solomon's riveting production of The Cradeaux Canvas rehearsed in our Library and then opened successfully in the El Rocco Theatre Room in Kings Cross to claim the title of the first production to open Sydney theatres after the COVID closures. Those of us who attended a special benefit night for the ABF’s ACTober, were impressed by the actors’ compelling performances - and safety protocols. One reviewer noted the performance was ‘safer than the supermarket’. Other theatres are now gradually and tentatively reopening. Similarly, Eugene Lynch and his cast, pictured elsewhere in this Newsletter, after rehearsing in our Library, presented the first opera since the venue shutdown. Their short season of the Australian opera Love Burns at the East Sydney Community & Arts Centre, also presented according to safety guidelines, revealed the exciting emergence of a new generation of brilliant young talent.
    [Show full text]
  • S011630 Brettenham House Brochure V10.Indd
    Striking. The Thames & Covent Garden on your doorstep. Brettenham House is a magnificent building adjacent to Waterloo Bridge overlooking the Thames. Its powerful presence is accentuated by its Art Deco façade and positioning on the west side of Lancaster Place. Hyde Park Green Park Mayfair Oxford Street Regent Street Tottenham Court Road St James’s Charing Cross Station Covent Garden Holborn Waterloo Temple CHANCERY LANE HOLBORN CULTURE O R N H O L B H I G H 1 Adelphi Theatre 9 Theatre Royal, Drury Lane 10 M Lincoln’s I 2 Savoy Theatre 10 National Theatre TOTTENHAM COURT ROAD N Inn Fields U 4 Place. T A 3 London Coliseum 11 S E T E Royal Festival Hall T R E S A G S T 4 I L H E S H I G K 4 Noël Coward Theatre 12 Cambridge Theatre 0 The area benefi ts from I 0 N G 5 Garrick Theatre 13 Proud Galleries 15 S W London’s most historic A 6 14 6 Y Lyceum Theatre National Portrait Gallery 5 M theatres, galleries and 7 The Duchess Theatre 15 Southbank Centre IN Seven U 4 8 Dials T A Fortune Theatre E opera houses that are 12 12 S A 4 COVENT GARDEN 8 8 steeped in tradition A 9 7 WINE & DINE 4 0 10 13 16 0 and history. 1 Savoy Kaspar’s 10 Ivy COVENT D Seafood Bar & Grill 11 N 11 R A Inner Cucina Asellina GARDEN 7 4 S T 6 A Temple 2 Savoy American Bar 3 6 5 12 Hawksmoor Seven Dials LEICESTER SQUARE 17 7 Gardens Amenities are unrivalled with some 14 15 4 3 Gordon’s Wine Bar 13 Dishoom 4 8 Somerset House TEMPLE A 3 2 1 1 of the best eateries, hotels and cafés 5 4 Polpo Covent Garden 4 14 Petersham Nurseries Leicester the city has to off er on your doorstep.
    [Show full text]
  • Summer 1998 National Sound Archive
    THE BULLETIN OF THE NATIONAL SOUND ARCHIVE ‘playback’ PLAYBACK is the bulletin of the British Library National Sound Archive (NSA). It is published free of charge three playbacktimes a year, with information on the NSA's current and future activities, and news from the world of sound archives and audio PLAYBACK: Editor Alan Ward, manager Production PLAYBACK:Alan Editor Richard Fairman, Layout Liz Joseph preservation. Comments are welcome and should be addressed to the editor at the NSA. We have a special mailing list for PLAYBACK. Please write, phone, fax or e-mail us, or complete and send in the tear-off slip at the end of this issue (if you have not done so already) if you wish to receive future issues through the post. The National Sound Archive is one of the largest sound archives in the world and is based at the British Library’s new building at St. Pancras. For further information contact The British Library National Sound Archive 96 Euston Road, London NW1 2DB ISSN 0952-2360 Tel:0171-412 7440. Fax: 0171-412 7441 SUMMER 1998 e-mail: [email protected] Anna Kravchyshyn in her home in Slavsko, Ukraine, recorded by the NSA’s oral history section (photo Tim Smith, Bradford Heritage Recording Unit) NATIONAL SOUND ARCHIVE 19 what’s happening Bradford Industrial Museum, Moorside Road, Bradford BD2 3HP and most bookshops (Dewi Lewis Publishing, £13.95). ■ Major items from NSA collections now feature for the first time in the British Library’s permanent exhibitions, reopened ■ The NSA’s former HQ building at 29 Exhibition at St.
    [Show full text]
  • List of Play Sets
    Oxfordshire County Council List of Play Sets Available from the Oxford Central Library 2015 Oxford Central Library – W e s t g a t e – O x f o r d – O X 1 1 D J Author Title ISBN Copies Cast Genre Russell, Willy Shirley Valentine: A play T000020903 2 1f Comedy (Dramatic) Churchill, Caryl Drunk enough to say I love you? T000096352 3 2m Short Play, Drama Churchill, Caryl Number T000026201 3 2m Drama Fourie, Charles J. Parrot woman T000037314 3 1m, 1f Harris, Richard The business of murder T000348605 3 2m, 1f Mystery/Thriller Pinter, Harold The dumb waiter: a play T000029001 3 2m Short Play Plowman, Gillian Window cleaner: a play T000030648 3 1m, 1f Short Play Russell, Willy Educating Rita T000026217 3 1m, 1f Comedy (Dramatic) Russell, Willy Educating Rita T000026217 3 Simon, Neil They're playing our song T000024099 3 1m, 1f Musical; Comedy Tristram, David Inspector Drake and the Black Widow: a comedy T000035350 3 2m, 1f Comedy Ayckbourn, A., and others Mixed doubles: An entertainment on marriage T000963427 4 2m, 1f Anthology Ayckbourn, Alan Snake in the grass: a play T000026203 4 3f Drama Bennett, Alan Green forms (from Office suite) N000384797 4 1m, 2f Short Play; Comedy Brittney, Lynn Ask the family: a one act play T000035640 4 2m, 1f Short Play; Period (1910s) Author Title ISBN Copies Cast Genre Brittney, Lynn Different way to die: a one act play T000035647 4 2m, 2f Short Play Camoletti, Marc; Happy birthday 0573111723 4 2m, 3f Adaptation; Comedy Cross, Beverley Chappell, Eric Passing Strangers: a comedy T000348606 4 2m, 2f Comedy (Romantic)
    [Show full text]