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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. Then I return there after leaving RADA. She rushed home to read the play, wanted to be in Paris to enjoy some and learned 'Oh what a rogue painting but ended up caught in violent and peasant slave am I' by riots. She fed back to England but could heart. From then on I didn't not face London, instead she decided she miss a production down the would walk to Liverpool, stow away on a Waterloo Road. (Littlewood 1994: 51) transatlantic ship and fnd fame and fortune in the USA. She got as far as School Productions and Training Burton-on-Trent before collapsing in a The experience of the Old Vic's ditch with exhaustion. She was taken in Shakespeare productions inspired her to by a poor woman, Beattie, who gave her direct her own at school. She directed a place to rest. As Littlewood rested Macbeth and played the lead role. The Beattie looked in her pockets and found production was a great success and the name and address of Archie Harding Littlewood discovered she had a talent for in Manchester. Beattie sent him a note verse speaking that would take her all the and received a train fare to Manchester in way to a scholarship at RADA in 1932. return. Littlewood took the train and ended up working with Harding at the Imadeforthecloakroom.It BBC in Manchester. One of the most was crowded with girls signifcant jobs she did for the BBC was a wriggling their rubber girdles, documentary called The Classic Soil in comparing lipsticks and making 1939. This was a particularly innovative bee-sting lips at the mirrors. documentary as the interviews she They were all debs or rich conducted with ordinary people formed Americans acquiring an the majority of the content. The authentic English accent. I was the only working class voice was not commonly outsider. (Littlewood 1994: 68) featured on national radio at this time. Littlewood's time at RADA was not a Meeting Jimmie happy one as she was once again an In Manchester, Littlewood found a type of outsider. One of the only classes that she theatre much more representative of recalled enjoying was Annie Fligg's ordinary people than the one she Central European Movement class. It was experienced at RADA. This was agitprop in this class that she was introduced to theatre by a group called Theatre of the work of Rudolph Laban, a Action led by Jimmie Miller. Jimmie and revolutionary dancer and choreographer Joan went on to have a successful period that would infuence Littlewood for the rest of work together. They were married in Joan LIttlewood: Education pack 2 1935 but divorced in 1948. Jimmie Ovejuna, The Good Soldier of Schweik became more commonly known by his and Lysistrata.Theseproductionsreveal stage name Ewan MacColl. Littlewood and Miller's interest in classical as well as contemporary theatre. The idea of agitprop suited me. A The Second World War broke out in 1939 bare platform, everything created and Theatre Union turned their attention by the actor - tempest, sun and to creating Living Newspaper style rain, swimming rivers, drowning productions that commented on the war. in storm-tossed seas. Curtain Their production of Last Edition landed theatre? The very words them in trouble with the Lord depressed me. (Littlewood 1994: 80) Chamberlain's censors and led to Littlewood and Miller's arrest and fne. Littlewood did hold down a job at the Many of the members of Theatre Union Rusholme Repertory Theatre during this were conscripted during the war so the time writing and directing her own shows. company disbanded in 1942. It was at this It was at the Rep that she met one of her time that the marriage between Miller and heroes, Ernst Toller. He had written Littlewood broke down. Littlewood then Masses and Men in 1918, an example of started a relationship with another German Expressionism. After Theatre Union member, Gerry Raffes. experiencing Toller's work on Draw the Jimmie Miller was one of the conscripted Fires,Littlewooddirectedherown men but he went AWOL leading him to expressionist piece for Theatre in Action change his name to Ewan MacColl to with Jimmie Miller - John Bullion.The avoid detection. production was a success and the critics at the Manchester Guardian proclaimed Theatre Workshop Littlewood as "the nearest thing to After the conclusion of the Second World Meyerhold the British theatre has got." War, Littlewood and MacColl founded But the Expressionist style of the Theatre Workshop. From 1945 to 1952 production did not ft well with Theatre in the company toured the country with Action's communist principles. The local adventurous and experimental Communist Party branch expelled both productions that explored the politics of Littlewood and Miller for putting art before class division at home as well as global politics. political issues such as the Cold War. Littlewood and Miller decided to pursue a Despite a brief residency developing work scholarship in Moscow, Russia but delays at Ormesby Hall, Middlesborough, with getting their visas meant they ran out Theatre Workshop struggled with poverty. of money whilst in London. The Peace The touring model proved unsustainable Pledge Union in Manchester for many of the company. Gerry Raffes commissioned them to produce Hans led the company to fnd a new, permanent Schlumberg's anti-war play Miracle at home at the Theatre Royal, Stratford, Verdun so they returned to the north. The East London. Ewan MacColl felt the production was a success and Miller and company was forgetting their identity by Littlewood got all those involved together moving to London so he decided to leave. and launched Theatre Union. Littlewood and Theatre Workshop renovated their new premises from ruin. Theatre Union The popularity and success of Theatre During the Theatre Union years fascism Workshop continued to grow for the next was growing across Europe and at home. two decades. Littlewood was a Whilst the Battle of Cable Street revolutionary voice in British theatre but highlighted the threat of fascism in the remained on the fringes. She became UK, the Spanish Civil War saw the fascist frustrated with actors being poached by leader Franco take power. Theatre Union the West End and eventually turned her produced shows that refected the political back on theatre altogether to focus on her situations - Lope de Vega's Fuente community project - the Fun Palace. Joan LIttlewood: Education pack 3 Joan Littlewood changed the nature of theatre. No contemporary director working today would claim to have done such a thing. David Hare on Joan Littlewood SOURCE: Sherwin, A (2013) Independent ONLINE, 1 NOVEMBER 2013 photo CrEDIT: PA IMAGES Artistic IntentionS It is impossible to pin down Littlewood's defnitive artistic intentions, but the manifestos from her various companies and a letter written to Encore magazine give an idea of her aims for theatre. Theatre Union Manifesto, 1936 The theatre must face up to the problems of its time; it cannot ignore the poverty and human suffering which increases every day. It cannot, with sincerity, close its eyes to the disasters of its time. Means Test suicides, wars, fascism and the million sordid accidents reported in the daily press. If the theatre of today would reach the heights achieved four thousand years ago in Greece and four hundred years ago in Elizabethan England it must face up to such problems. To those who say that such affairs are not the concern of the theatre or that the theatre should confne itself to treading the paths of 'beauty' and 'dignity', we would say "Read Shakespeare, Marlowe, Webster, Sophocles, Aeschylus, Aristophanes, Calderon, Moliere, Lope de Vega, Schiller and the rest." The Theatre Union says that in facing up to the problems of our time and by intensifying our efforts to get at the essence of reality, we are also attempting to solve our own theatrical problems both technical and ideological. By doing this we are ensuring the future of the theatre, a future which will not be born in the genteel atmosphere of retirement and seclusion, but rather in the clash and turmoil of the battles between oppressors and the oppressed.
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