DOCSLIB.ORG

Writing Figures of Political Resistance for the British Stage Vol1.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Writing Figures of Political Resistance for the British Stage Vol1.Pdf Writing Figures of Political Resistance for the British Stage Volume One (of Two) Matthew John Midgley PhD University of York Theatre, Film and Television September 2015 Writing Figures of Resistance for the British Stage Abstract This thesis explores the process of writing figures of political resistance for the British stage prior to and during the neoliberal era (1980 to the present). The work of established political playwrights is examined in relation to the socio-political context in which it was produced, providing insights into the challenges playwrights have faced in creating characters who effectively resist the status quo. These challenges are contextualised by Britain’s imperial history and the UK’s ongoing participation in newer forms of imperialism, the pressures of neoliberalism on the arts, and widespread political disengagement. These insights inform reflexive analysis of my own playwriting. Chapter One provides an account of the changing strategies and dramaturgy of oppositional playwriting from 1956 to the present, considering the strengths of different approaches to creating figures of political resistance and my response to them. Three models of resistance are considered in Chapter Two: that of the individual, the collective, and documentary resistance. Each model provides a framework through which to analyse figures of resistance in plays and evaluate the strategies of established playwrights in negotiating creative challenges. These models are developed through subsequent chapters focussed upon the subjects tackled in my plays. Chapter Three looks at climate change and plays responding to it in reflecting upon my creative process in The Ends. Chapter Four explores resistance to the Iraq War, my own military experience and the challenge of writing autobiographically. Finally, Chapter Five focusses on conscientious objection and the First World War, considering the history play as a strategy for effective resistance and my adoption of it in The Uncivilised Warfare of Zeppelins. 2 Writing Figures of Resistance for the British Stage Table of Contents Volume One Abstract ..................................................................................................................................... 2 Table of Contents ...................................................................................................................... 3 List of Accompanying Material ................................................................................................ 5 Acknowledgements .................................................................................................................. 6 Author’s declaration ................................................................................................................. 7 Introduction .............................................................................................................................. 8 A crisis of resistance ............................................................................................................. 8 Author biography ............................................................................................................... 11 Realism and Empire ........................................................................................................... 15 Political resistance .............................................................................................................. 20 Models of resistance in post-war political theatre .......................................................... 22 Chapter outlines .................................................................................................................. 28 Chapter One ............................................................................................................................ 31 Changing strategies of resistance since 1956 .................................................................. 32 The dramaturgy of resistance ............................................................................................ 53 Writing resistance in the neoliberal age: the current context and its implications for theatre ................................................................................................................................. 70 Conclusion ........................................................................................................................... 77 Chapter Two ........................................................................................................................... 81 Empire’s new clothes ......................................................................................................... 81 Individual resistance .......................................................................................................... 83 Collective resistance ........................................................................................................... 95 Documentary resistance .................................................................................................. 108 Chapter Three ....................................................................................................................... 112 Changing climate? ............................................................................................................. 112 Climate plays and resistance ........................................................................................... 116 The Contingency Plan ........................................................................................................ 118 Earthquakes in London ..................................................................................................... 120 Greenland ........................................................................................................................... 125 3 Writing Figures of Resistance for the British Stage The Heretic ......................................................................................................................... 129 2071 and Ten Billion ......................................................................................................... 131 The Ends ............................................................................................................................. 135 Chapter Four ......................................................................................................................... 141 The Iraq War ..................................................................................................................... 141 The Iraq War, protest and theatre .................................................................................. 145 Truth in the dock: Justifying War and Stuff Happens ..................................................... 147 Black Watch ....................................................................................................................... 150 Ten Tiny Toes ..................................................................................................................... 154 Quicksand........................................................................................................................... 157 Chapter Five .......................................................................................................................... 165 Resistance to the First World War .................................................................................. 165 The First World War on stage .......................................................................................... 167 The Silver Tassie ................................................................................................................ 171 Post-Mortem ...................................................................................................................... 173 Angels of War ..................................................................................................................... 176 Friends of Alice Wheeldon ................................................................................................. 179 The Accrington Pals ........................................................................................................... 182 The Uncivilised Warfare of Zeppelins ............................................................................... 185 Conclusion ............................................................................................................................. 193 Developments in my writing between iterations and across the three plays ............. 193 Writing figures of political resistance for the British stage .......................................... 195 Bibliography ......................................................................................................................... 199 Volume Two: Accompanying Material Table of Contents ................................................................................................................................ 224 The Ends .............................................................................................................................................. 225 Quicksand ............................................................................................................................................ 285 The Uncivilised Warfare of Zeppelins .................................................................................................. 364 PhD in Theatre,
Load more

Recommended publications
  • Friends of Alice Wheeldon
    Friends of Alice Wheeldon Rowbotham FOAW 00 pre 1 09/02/2015 10:34 Rowbotham FOAW 00 pre 2 09/02/2015 10:34 Friends of Alice Wheeldon The Anti-War Activist Accused of Plotting to Kill Lloyd George Second Edition Sheila Rowbotham Rowbotham FOAW 00 pre 3 09/02/2015 10:34 Rowbotham FOAW 00 pre 6 09/02/2015 10:34 First published 1986 This second edition published 2015 by Pluto Press 345 Archway Road, London N6 5AA www.plutobooks.com Copyright © Sheila Rowbotham 1986, 2015 The right of Sheila Rowbotham to be identified as the author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library ISBN 978 0 7453 3575 9 Paperback ISBN 978 1 7837 1316 5 PDF eBook ISBN 978 1 7837 1318 9 Kindle eBook ISBN 978 1 7837 1317 2 EPUB eBook This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental standards of the country of origin. 10 9 8 7 6 5 4 3 2 1 Typeset by Stanford DTP Services, Northampton, England Text design by Melanie Patrick Simultaneously printed by CPI Antony Rowe, Chippenham, UK and Edwards Bros in the United States of America Rowbotham FOAW 00 pre 4 09/02/2015 10:34 Contents Acknowledgements viii Introduction xi REBEL NETWORKS IN THE FIRST WORLD WAR Abbreviations 1 1.
    [Show full text]
  • Belarus Free Theatre Opens up Its Digital Archive to Share 24 Theatrical Productions from the Past 15 Years
    FOR IMMEDIATE RELEASE: Thursday 2 April 2020 BELARUS FREE THEATRE OPENS UP ITS DIGITAL ARCHIVE TO SHARE 24 THEATRICAL PRODUCTIONS FROM THE PAST 15 YEARS WILL ATTENBOROUGH, STEPHEN FRY, ANDREI KHLYVNIUK, DAVID LAN, JULIET STEVENSON & SAM WEST JOIN NEW FAIRY-TALE-INSPIRED CAMPAIGN #LOVEOVERVIRUS 2020 marks the 15th anniversary of Belarus Free Theatre (BFT), the foremost refugee-led theatre company in the UK and the only theatre in Europe banned by its government on political grounds. Ahead of the announcement of the full programme of BFT’s 15th anniversary celebrations, and in response to the coronavirus pandemic, the company will open up its digital archive to make 24 acclaimed stage productions free to watch online, alongside the launch of a new fairy-tale-inspired campaign: #LoveOverVirus 15 YEARS OF THEATRICAL HIGHLIGHTS FREE TO WATCH ONLINE Belarus Free Theatre began 15 years ago this week – on 30 March 2005 – in Minsk under Europe's last surviving dictatorship. Since 2011, the company has been based between Minsk and London where its co-founding Artistic Directors, Natalia Kaliada and Nicolai Khalezin, are political refugees in the UK. New productions are created and rehearsed over Skype before premiering in continually changing underground locations in and around Minsk. Over the past decade, BFT has - through necessity - pioneered creating award-winning theatre at distance and will now share a raft of its theatrical highlights with audiences online at a time when more than a third of the world’s population is adapting to daily life under lockdown. Beginning this Saturday (4 April), and continuing each weekend for the next three months, 24 productions will be made available to watch online on BFT’s YouTube channel: https://www.youtube.com/c/BelarusFreeTheatre Each production listed below will air on the date indicated at 8pm GMT and will be available to watch for the following 24 hours.
    [Show full text]
  • Strategies of Political Theatre Post-War British Playwrights
    Strategies of Political Theatre Post-War British Playwrights Michael Patterson published by the press syndicate of the university of cambridge The Pitt Building,Trumpington Street,Cambridge cb2 1rp,United Kingdom cambridge university press The Edinburgh Building,Cambridge, cb2 2ru,UK 40 West 20th Street,New York, ny 10011–4211,USA 477 Williamstown Road,Port Melbourne, vic 3207,Australia Ruiz de Alarcon´ 13, 28014 Madrid,Spain Dock House,The Waterfront,Cape Town 8001,South Africa http://www.cambridge.org C Cambridge University Press 2003 This book is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2003 Printed in the United Kingdom at the University Press,Cambridge Typefaces Trump Mediaeval 9.25/14 pt. and Schadow BT System LATEX 2ε [tb] A catalogue record for this book is available from the British Library isbn 0 521 25855 3 hardback Contents Acknowledgments ix Brief chronology, 1953–1989 x Introduction 1 Part 1: Theory 1 Strategies of political theatre: a theoretical overview 11 Part 2: Two model strategies 2 The ‘reflectionist’ strategy: ‘kitchen sink’ realism in Arnold Wesker’s Roots (1959) 27 3 The ‘interventionist’ strategy: poetic politics in John Arden’s Serjeant Musgrave’s Dance (1959) 44 Part 3: The reflectionist strain 4 The dialectics of comedy: Trevor Griffiths’s Comedians (1975) 65 5 Appropriating middle-class comedy: Howard Barker’s Stripwell
    [Show full text]
  • The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
    The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 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 complete 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 U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message.
    [Show full text]
  • Peter Barnes and the Nature of Authority
    PETER BARNES AND THE NATURE OF AUTHORITY Liorah Anrie Golomb A thesis subnitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drarna in the University of Toronto @copyright by Liorah Anne Golomb 1998 National Library Bibliothèque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliagraphiques 395 Wellington Street 395, nie Wellington OttawaON K1AW Ottawa ON K1A ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à fa National Libmy of Canada to Bibliothèque nationale du Canada de reproduce, loaq distriiute or sell reproduire, prêter, distri'buer ou copies of this thesis in microfonn, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fkom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. PETER BARNES AND THE NATURE OF AUTHORITY Liorah Anne Golomb Doctor of Philosophy, 1998 Graduate Centre for Study of Drama University of Toronto Peter Barnes, among the most theatrically-minded playwrights of the non-musical stage in England today, makes use of virtually every elernent of theatre: spectacle, music, dance, heightened speech, etc- He is daring, ambitious, and not always successful.
    [Show full text]
  • The Danish Girl February 2016
    THE DANISH GIRL FEBRUARY 2016 “possibly Britain’s most beautiful cinema..” (BBC) Britain’s Best Cinema – Guardian Film Awards 2014 FEBRUARY 2016 • ISSUE 131 www.therexberkhamsted.com 01442 877759 Mon-Sat 10.30-6.30pm Sun 4.30-5.30pm Try ourWe’re delicious HERE new for menu a perfect designed pre-theatre by supper BEST IN FEBRUARY chef . Jane’s credits include the DeliciousJane Collins dishes freshly prepared, and featuring local, Waterside Inn, Bray, Marco Pierre White’s seasonal produce Belvedere and, most recently, The Clarendon. FeaturingBring along local yourduck, ticketfine Hertfordshirefor a 15% discount steaks on our à la and home-madecarte breads. menu between 5pm & 7pm As ever, we’re open from morning till late from CONTENTS Monday to Saturday and Films At A Glance 16-17 for an expanded Obits 23 Awards 24-25 Brunch and roast lunch on Sundays. BOX OFFICE: 01442 877759 Le Mépris Mon to Sat 10.30-6.30 Brigitte Bardot: the template for every future dirty pout Sun 4.30-5.30 Page 12 SEAT PRICES FILMS OF THE MONTH Circle £9.00 Concessions £7.50 Table £11.00 Concessions £9.50 Royal Box Seat (Seats 6) £13.00 Whole Royal Box £73.00 All matinees £5, £6.50, £10 (box) Disabled and flat access: through the gate on High Street (right of apartments) Grandma When Harry Met Sally Lily Tomlin storms the screen Valentines: fabulous one liners, Director: James Hannaway without a single dirty pout fake org, no pouts 01442 877999 Page 12 Page 13 Advertising: Lynn Hendry 01442 877999 Artwork: Demiurge Design 01296 668739 The Rex High Street (Three Close Lane) Berkhamsted, Herts HP4 2FG BERKHAMSTED www.therexberkhamsted.com To book a table call 01442 300870 The Assassin The Sea Inside HERE Café Bar, 28-30 Lower Kings Road, Berkhamsted HP42AB Beautiful, stunning, fast and Exquisite, timeless, heart lifting/ “ Unhesitatingly The Rex furious.
    [Show full text]
  • Demarcating Dramaturgy
    Demarcating Dramaturgy Mapping Theory onto Practice Jacqueline Louise Bolton Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds Workshop Theatre, School of English August 2011 The candidate confirms that the work submitted is his/her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. 11 Acknowledgements This PhD research into Dramaturgy and Literary Management has been conducted under the aegis of an Arts and Humanities Research Council Collaborative Doctoral Award; a collaboration between the University of Leeds and West Yorkshire Playhouse which commenced in September 2005. I am extremely grateful to Alex Chisholm, Associate Director (Literary) at West Yorkshire Playhouse, and Professor Stephen Bottoms and Dr. Kara McKechnie at the University of Leeds for their intellectual and emotional support. Special thanks to Professor Bottoms for his continued commitment over the last eighteen months, for the time and care he has dedicated to reading and responding to my work. I would like to take this opportunity to thank everybody who agreed to be interviewed as part of this research. Thanks in particular to Dr. Peter Boenisch, Gudula Kienemund, Birgit Rasch and Anke Roeder for their insights into German theatre and for making me so welcome in Germany. Special thanks also to Dr. Gilli Bush-Bailey (a.k.a the delightful Miss. Fanny Kelly), Jack Bradley, Sarah Dickenson and Professor Dan Rebellato, for their faith and continued encouragement.
    [Show full text]
  • Contemporary Left Antisemitism
    “David Hirsh is one of our bravest and most thoughtful scholar-activ- ists. In this excellent book of contemporary history and political argu- ment, he makes an unanswerable case for anti-anti-Semitism.” —Anthony Julius, Professor of Law and the Arts, UCL, and author of Trials of the Diaspora (OUP, 2010) “For more than a decade, David Hirsh has campaigned courageously against the all-too-prevalent demonisation of Israel as the one national- ism in the world that must not only be criticised but ruled altogether illegitimate. This intellectual disgrace arouses not only his indignation but his commitment to gather evidence and to reason about it with care. What he asks of his readers is an equal commitment to plumb how it has happened that, in a world full of criminality and massacre, it is obsessed with the fundamental wrongheadedness of one and only national movement: Zionism.” —Todd Gitlin, Professor of Journalism and Sociology, Columbia University, USA “David Hirsh writes as a sociologist, but much of the material in his fascinating book will be of great interest to people in other disciplines as well, including political philosophers. Having participated in quite a few of the events and debates which he recounts, Hirsh has done a commendable service by deftly highlighting an ugly vein of bigotry that disfigures some substantial portions of the political left in the UK and beyond.” —Matthew H. Kramer FBA, Professor of Legal & Political Philosophy, Cambridge University, UK “A fierce and brilliant rebuttal of one of the Left’s most pertinacious obsessions. What makes David Hirsh the perfect analyst of this disorder is his first-hand knowledge of the ideologies and dogmata that sustain it.” —Howard Jacobson, Novelist and Visiting Professor at New College of Humanities, London, UK “David Hirsh’s new book Contemporary Left Anti-Semitism is an impor- tant contribution to the literature on the longest hatred.
    [Show full text]
  • Chapter One a Theoretical Background to the Figure of The
    19 Chapter One A Theoretical Background to the figure of the Artist in Literature and Theatre In an article published in Fall 2009, Csilla Bertha maintains that the central place an artist occupies within a work of art adds an additional dimension to plays, since the fictional artist’s point of view, attitudes to the world and evaluation of phenomena, may double or multiply the layers of the connections between art and life. She then adds: If an artist is chosen to be the protagonist of a play or novel, that choice naturally leads to the thematization of questions and dilemmas about the existence of art and the artist; relations between art and life, art/artist and the world; the nature of artistic creation; differences between ways of life, values, and views of ordinary people and artists; relations between individual and community, between the subject and objective reality; and many other similar issues.1 No doubt, with the advent of highly sophisticated and challenging notions such as Formalism2 and the death of the author,3 it is hard to conceive the figure of the artist without paying attention to the interrelations between art and life in which the ideal and reality, subject and object, constitute sharp contrasts. Traditionally, this dialectical relationship forms “binary 1 Csilla Bertha, “Visual Art and Artist in Contemporary Irish Drama”, Hungarian Journal of English and American Studies (HJEAS) v. 15, no. 2 (Fall 2009): 347. 2 Formalism is a Russian literary movement which originated in the second decade of the twentieth century. Its leading figures were both linguists and literary historians such as Boris Eikhenbaum (1886-1959), Roman Jakobson (1895-1982), Viktor Shklovsky (1893-1984), Boris Tomashevskij (1890-1957) and Jurij Tynjanov (1894-1943).
    [Show full text]
  • Caryl Churchill's the Skriker and the Struggle Against Patriarchy Ruthellen Cunnally Iowa State University
    Iowa State University Capstones, Theses and Retrospective Theses and Dissertations Dissertations 2005 This ointment disappointment: Caryl Churchill's The skriker and the struggle against patriarchy Ruthellen Cunnally Iowa State University Follow this and additional works at: https://lib.dr.iastate.edu/rtd Part of the English Language and Literature Commons Recommended Citation Cunnally, Ruthellen, "This ointment disappointment: Caryl Churchill's The skriker and the struggle against patriarchy" (2005). Retrospective Theses and Dissertations. 14453. https://lib.dr.iastate.edu/rtd/14453 This Thesis is brought to you for free and open access by the Iowa State University Capstones, Theses and Dissertations at Iowa State University Digital Repository. It has been accepted for inclusion in Retrospective Theses and Dissertations by an authorized administrator of Iowa State University Digital Repository. For more information, please contact [email protected]. "This ointment disappointment": Caryl Churchill's TheSkriker and the struggle against patriarchy by Ruthellen Cunnally A thesis submitted to the graduate faculty in partial fulfillment of the requirements for the degree of MASTER OF ARTS Major: English (Literature) Program ofStudy Committee: Susan Carlson, Major Professor Kathy Hickok Madeleine Henry Iowa State University Ames, Iowa 2005 u Graduate College Iowa State University This is to certify that the master's thesis of Ruthellen Cunnally has met the thesis requirements ofIowa State University Signatures have been redacted for privacy Ill Table ofContents Chapter 1: Introduction 1 Chapter 2: The Evolutionary Development of Churchill's Plays 3 Chapter 3: Who or Whatis The Skriker? 21 Chapter4: The Skrikerand the Failure of the Ethic of Caring 35 AppendixA: Comparison of Patriarchal and Matriarchal Systems 64 Appendix B: Matriarchal Point ofView 67 Works Cited 72 Chapter 1: Introduction "Achieving things isn't necessarily good, it matters what you achieve" (Churchill interview, Betsko and Koenig, 78).
    [Show full text]
  • Prologue: 'After Auschwitz': Survival of the Aesthetic
    Notes Prologue: ‘After Auschwitz’: Survival of the Aesthetic 1. In 1959 the German poet Hans Magnus Enzensberger called Adorno’s state- ment ‘one of the harshest judgments that can be made about our times: after Auschwitz it is impossible to write poetry’, and urges that ‘if we want to con- tinue to live, this sentence must be repudiated’. Hans Magnus Enzensberger, ‘Die Steine der Freiheit’ in Petra Kiedaisch (ed.). Lyrik nach Auschwitz? Adorno und die Dichter (73). 2. Herbert Marcuse, too, criticised the tendency toward uniformity and repres- sion of individuality in modern technological society in his seminal 1964 study One-Dimensional Man: Studies in the Ideology of Advanced industrial Society. 3. For philosophers such as Hannah Arendt the culmination of totalitar- ian power as executed in the camps led not only to the degradation and extermination of people, it also opened profound and important questions about our understanding of humanity and ethics (see: Arendt, The Origins of Totalitarianism). The question of an ethical response to Auschwitz also preoc- cupies Giorgio Agamben who argues that an ethical attempt to bear witness (testimony) to Auschwitz must inevitably confront the impossibility of speak- ing without, however, condemning Auschwitz to the ‘forever incomprehensi- ble’ (Remnants of Auschwitz 11). 4. See Alan Milchman and Alan Rosenberg’s Postmodernism and the Holocaust. However, Adorno’s response to the Holocaust is not discussed in this volume. His most notable reflections on Auschwitz can be found in Negative Dialectics (‘Meditations on Metaphysics’), Metaphysics: Concepts and Problems (1965), and in the collection Can one Live after Auschwitz? 5.
    [Show full text]
  • Fleabag’ from London’S West End Expands Distribution in U.S
    MEDIA ALERT – September 20, 2019 ‘Fleabag’ from London’s West End Expands Distribution in U.S. Cinemas Monday, November 18 for One Night See the critically acclaimed, award-winning one woman show that inspired the network series with BAFTA winner and Emmy nominee Phoebe Waller-Bridge • WHAT: Fathom Events, BY Experience and National Theatre Live release “Fleabag” in cinemas on Monday, November 18, 2019 at 7:00 p.m. local time, captured live from Wyndham’s Theatre London during its sell out West End run. • WHERE: Tickets for these events can be purchased online by visiting www.FathomEvents.com or at participating theater box offices. Fans throughout the U.S. will be able to enjoy the events in nearly 500 movie theaters through Fathom’s Digital Broadcast Network (DBN). For a complete list of theater locations visit the Fathom Events website (theaters and participants are subject to change). • WHO: Fathom Events, BY Experience and National Theatre Live “Filthy, funny, snarky and touching” Daily Telegraph “Witty, filthy and supreme” The Guardian “Gloriously Disruptive. Phoebe Waller-Bridge is a name to reckon with” The New York Times Fleabag Written by Phoebe Waller-Bridge and directed by Vicky Jones, Fleabag is a rip-roaring look at some sort of woman living her sort of life. Fleabag may appear emotionally unfiltered and oversexed, but that’s just the tip of the iceberg. With family and friendships under strain and a guinea pig café struggling to keep afloat, Fleabag suddenly finds herself with nothing to lose. Fleabag was adapted into a BBC Three Television series in partnership with Amazon Prime Video in 2016 and earned Phoebe a BAFTA Award for Best Female Comedy Performance.
    [Show full text]