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Chapter 1 Politics and Theatre Notes Chapter 1 Politics and Theatre 1 Shellard (1999: 12-13) discusses censorship of works by Unity Theatre, a socia­ list theatre company based in London, during the 1950s. 2 For further information about the theatre companies of the 1970s, see Dreams and Deconstructions: Alternative Theater in Britain, ed. Sandy Craig (Ambergate: Amber Lane Press, 1980) and Stages in the Revolution: Political Theatre since 1960, Catherine Itzin (London: Eyre Methuen, 1980). 3 Rees (1992) quotes John Ashford, the first editor of Time Out, as saying he introduced the term in the late1960s, borrowing the term that had come to categorize the non-invited performances at the Edinburgh Festival. 4 Eyre and Wright state, 'Arts Council funding for alternative theatres in 1969/ 1970 came to £15,000; ten years later, funding from the Drama Panel alone amounted to £1.5 million' (284). 5 Recent surveys have shown clear trends towards political disengagement and falling confidence in the efficacy of the political system. A well-known and accessible source of survey information is the yearly report British Social Attitudes, published in London by Sage Publications and the National Centre for Social Research. The 18th Report, edited by Alison Park eta/. and published in 2001, included the information that 63% of respondents in 2000 thought the system of government needed improvement, compared to 49% in 1973. At the same time, 26% (compared with 19% in 1974) felt that parties 'are only interested in votes' rather than in the opinions and needs of constituents, and 19% (compared to 11 'Yo in 1991) felt that 'things go on the same' regardless of which party is in power. The same report shows only 6o/o of respondents with very strong political-party identification (compared to 11 'Yo in 1987), while 13% (compared to So/o in 1987) claim no party identification. 6 He also describes how rumours that he would not allow Catholics to be cast in his plays initially sabotaged an American production of his play Trust (5 April2003). 7 See Wikipedia (www.wikipedia.org) for the history of the term 'feminazi'. 8 Creative Britain, the 1998 New Labour statement on arts policy authored by the Rt. Hon. Chris Smith, MP and Secretary of State for Culture, Media, and Sport, devoted full chapters to music, film, and broadcasting, but mentioned theatre in only 2 of its 170 pages. 9 Susan Bennett (1990) quotes a number of studies establishing a profile of the typical theatre audience as highly educated, affluent, and tending towards middle age. Initial studies of the results of a campaign within Britain to increase access to the arts indicate that the number of people who 'experience the arts regularly has surged by more than 800,000 since 2001' (Guardian 14 June 2004). 10 In a workshop I attended, Boa! enquired about the occupation of participants and expressed some frustration over the narrowness of the self-selection process evident in the fact that everyone was either a teacher or a student. 225 226 Notes 11 Lyn Gardner, in 'Raising the Roof' (Guardian online edition 8 July 2002), remarks on a tremendous amount of cross-company collaboration. Chapter 2 Generational Politics: The In-Yer-Face Plays 1 In 2001 the Royal Court Theatre presented its Sarah Kane Season, in which all her plays were revived. 2 See General Household Survey, 2000, issued by the Office for National Statistics and published in 2002, available on the national statistics website, www.statistics.gov.uk Chapter 3 Intergenerational Dialogue 1 The Guardian columnist Madeleine Bunting recently suggested that the Blair government has 'cruised on Billy Elliot rhetoric', suggesting that increased opportunity that has enabled a few individual success stories has solved the problems of entire communities, while ignoring 'the friends, relatives, and neighbours left behind' (9-15 June: 5). Chapter 4 Systems of Power 1 See, for example, Peter Riddell, The Thatcher Era (Oxford: Blackwell, 1991). 2 Speculation about the dynamics behind Brandt's resignation has included theories that he was set up by close associates who knew of Guillaume's spying, that he was seeking to avoid exposure of sexual misconduct, and that he was clinically depressed. See Hugh Eakin, 'On Stage and Off, the Mystery of Willy Brandt', The New York Times 18 December 2004: A19. 3 The playwright links the action of the play with speculation about secret US atomic testing in the South Atlantic in the late 1950s. Chapter 5 Issues for Post-Thatcher Britain 1 The final report of the Inquiry recommended major changes in the organiza­ tion, training, and practice of the Metropolitan Police as a result of the evidence that had been presented. For complete testimony, final report, and recommendations, see www.archive.official-documents.co.uk/document/ cm42/4262/sli-03.htm. 2 Norton-Taylor had previously collaborated with John McGrath on Half the Picture in 1994, about hearings into arms deals with Iraq, and written Nuremberg in 1996, to commemorate the fiftieth anniversary of the Nazi war crimes tribunal. 3 Norton-Taylor, Richard, 'How Hutton Became a Play', Guardian 4 November 2003, online edition. 4 While noting that none of the shooting victims had been proved to be armed with either guns or bombs, the Widgery Inquiry gave credence to the Notes 227 suspicion that some marchers had been firing at the army or supporting those who were firing. It also concluded that the shootings did not indicate a break­ down in military discipline, and avoided blaming individual soldiers for the deaths. 5 See Norton-Taylor, Richard, 'Bloody Sunday: The Final Reckoning Begins', Guardian 22 November 2004, online edition. 6 The soldiers who testified agreed to do so only on condition that they be questioned in London, not Londonderry, and that their identities not be revealed. 7 Reported in the Guardian 18 February 2003. 8 The Hutton Inquiry concluded that Kelly's death was a suicide and that allegations that the weapons dossier was altered to exaggerate the threat were not substantiated. 9 See, for example, 'Chronology of Rail Crashes' and 'Safety Crisis,' BBC News 10 May 2002, online edition. 10 David Hare noted, in an interview with New York Times reporter Elisabeth Bumiller, that his own admiration for Powell led him to portray him as some­ thing of a hero, but that he 'toughened up the writing about Powell' in response to knowledgeable critics who considered this too positive a view (New York Times 3 April2006: A 14). 11 After the New York opening of the play, Colin Powell began to speak out about the prelude to war in Iraq, claiming that he knew there were no WMD and laying responsibility for the threats regarding such weapons on Vice President Cheney and the CIA. See Robert Scheer, 'Now Powell Tells Us', The Nation 26 April 2006, web edition. 12 Market Boy by David Eldridge, produced in 2006 at the National Theatre, made a personal and somewhat sentimental foray into the Thatcher years, but depicted Thatcher herself only as a larger-than-life gargoyle. Chapter 6 Post-Thatcher Britain and Global Politics 1 Having enjoyed the novel experience of performing, Hare wrote a book about the experience, Acting Up, published by Faber and Faber in 1999. 2 The Refugee Council in the United Kingdom currently reports that asylum applications have fallen by 75% over the past three years (Refugee Council online). 3 In the original production this was done using a metal globe sculpture, for maximum symbolic resonance. Bibliography Plays Adshead, Kay. The Bogus Woman. London: Oberon, 2001. Bean, Richard. The God Botherers. London: Oberon, 2003. Bean, Richard. The Mentalists. London: Oberon, 2002. Bean, Richard. Under the Whaleback. London: Oberon, 2003. Beaton, Alistair. Feelgood. London: Methuen, 2001. Bennett, Alan. The History Boys. New York: Faber and Faber, 2004. Bhatti, Gurpreet Kaur. Behzti (Dishonour). London: Oberon, 2004. Billy Elliot, the Musical. Programme. London: Victoria Palace, 2005. Brenton, Howard. Paul. London: Nick Hem Books, 2005. Brittain, Victoria and Gillian Slovo. Guantanamo: Honor Bound to Defend Freedom. London: Oberon Books, 2004. Burke, Gregory. Gagarin Way. London: Faber and Faber, 2001. Butterworth, Jez. Mojo. London: Nick Hem, 1998. Churchill Caryl. Blue Heart. New York: Theatre Communications Group, 1997. Churchill Caryl. Far Away. London: Nick Hem, 2000. Churchill Caryl. A Number. London: Nick Hem, 2002. Daley, Dona. Blest Be the Tie. London: Royal Court Theatre, 2004. Darke, Nick. The Riot. London: Methuen, 1999. DeAngelis, April. Wild East. London: Faber and Faber, 2005. Dear, Nick. Power. London: Faber and Faber, 2003. Dunbar, Andrea and Robin Soans. Rita, Sue, and Bob Too/A State Affair. London: Methuen, 2000. Dowie, Claire. Easy Access (for the Boys). London: Methuen, 1998. Edgar, David. Playing with Fire. London: Nick Hem, 2005. Edmundson, Helen. Mother Teresa Is Dead. London: Nick Hem, 2002. Eldridge, David. Serving It Up in Plays: I. London: Methuen, 2005. Parr, David. The UN Inspector. London: Faber and Faber, 2005. Feehily, Stella. Duck. London: Nick Hem, 2003. Frayn, Michael. Copenhagen. New York: Anchor, 1998. Frayn, Michael. Democracy. London: Faber and Faber, 2003. Green, Debbie Tucker. Born Bad. London: Nick Hem, 2003. Gupta, Tanika. The Waiting Room. London: Faber and Faber, 2000. Gupta, Tanika. Sanctuary. London: Oberon, 2002. Gupta, Tanika. Gladiator Games. London: Oberon, 2005. Hare, David. Via Dolorsa. London: Faber and Faber, 1998. Hare, David. The Permanent Way. London: Faber and Faber, 2003. Hare, David. Stuff Happens. London: Faber and Faber, 2004. Harris, Zinnie. Further than the Furthest Thing. London: Faber and Faber, 2000. Kane, Sarah. Blasted, in Complete Plays, 1-61. London: Methuen, 2001. Kane, Sarah. Cleansed, in Complete Plays, 105-151. London: Methuen, 2001. Kane, Sarah. Phaedra's Love, in Complete Plays, 63-103. London: Methuen, 2001.
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