Chapter 1 Politics and Theatre

Home , Ayub Khan Din, Beautiful Thing (play)

Notes

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.

228 Bibliography 229

Kent, Nicolas. Srebrenica. London: Oberon Books, 2005. Khan-Din, Ayub. East Is East. London: Nick Hem, 1996. Kwei-Armah, Kwame. Elmina's Kitchen. London: Methuen, 2003. Kwei-Armah, Kwame. Fix Up. London: Methuen, 2004. Lavery, Bryony. Frozen. London: Faber and Faber, 2002. Leigh, Mike. Two Thousand Years. London: Faber and Faber, 2006. Linden, Sonja. I Have Before Me a Remarkable Document Given to Me by a Young Lady from Rwanda. London: Aurora Metro Publications, 2004. Marber, Patrick. Howard Katz. London: Faber and Faber, 2001. McDonagh, Martin. The Beauty Queen ofLeenane, in The Beauty Queen ofLeenane and Other Plays. New York: Vintage, 1998. McDonagh, Martin. The Lieutenant ofinishmore. London: Methuen, 2001. McDonagh, Martin. The Pillowman. London: Faber and Faber, 2003. Mitchell, Gary. Trust. London: Nick Hem, 1999. Mitchell, Gary. The Force of Change. London: Nick Hem, 2000. Mitchell, Gary. Loyal Women. London: Nick Hem, 2003. Morgan, Abi. Skinned. London: Faber and Faber, 1998. Munro, Rona. Iron. London: Nick Hem, 2002. Norton-Taylor, Richard. The Colour ofJustice: Based on the Transcripts of the Stephen Lawrence Inquiry. London: Oberon, 1999. Norton-Taylor, Richard. Justifying War: Scenes from the Hutton Inquiry. London: Oberon, 2003. Norton-Taylor, Richard. Bloody Sunday: Scenes from the Saville Inquiry. London: Oberon, 2005. Oglesby, Tamsin. US and Them. London: Faber and Faber, 2003. Osborne, John. Look Back in Anger. New York: Bantam, 1965. Penhall, Joe. Some Voices in Plays: I. London: Methuen, 1998. Penhall, Joe. Blue/Orange. London: Methuen, 2000. Pinnock, Winsome. Mules. London: Faber and Faber, 1996. Prichard, Rebecca. Yard Gal. London: Faber and Faber, 1998. Ravenhill, Mark. Mother Clap's Molly House. London: Methuen, 2001. Ravenhill, Mark. Shopping and Fucking, in Plays I, 1-91. London: Methuen, 2001. Ravenhill, Mark. Some ExplicitPolaroids, in Plays I, 227-314. London: Methuen, 2001. Rickman, Alan and Katharine Viner. My Name is Rachel Corrie. London: Nick Hem, 2006. Soans, Robin. Talking to Terrorists. London: Oberon, 2005. Stephens, Simon. Herons. London: Methuen, 2001. Upton, Judy. Ashes and Sand, in Plays: I. London: Methuen, 2002. Walsh, Enda. Bedbound. London: Nick Hem, 2000. Waters, Steve. World Music. London: Nick Hem, 2003. Wertenbaker, Timberlake. Credible Witness. London: Faber and Faber, 2001. Williams, Roy. Lift Off. London: Methuen, 1999. Williams, Roy. Sing Yer Heart Out for the Lads. London: Methuen, 2002. Williams, Roy. The No Boys Cricket Club, Plays: I. London: Methuen, 2002. Wynne, Michael. The People Are Friendly. London: Faber and Faber, 2002.

History and theory

Arendt, Hannah. On Revolution. New York: Viking, 1963. Arts Council England. Annual Review, 2005, www.artscouncil.org.uk. 230 Bibliography

Aston, Elaine. 'The "Bogus Woman": Feminism and Asylum Theatre', Modern Drama 46:1 (Spring 2003) pp. 5-21. Aston, Elaine. Feminist Views on the English Stage. Cambridge: Cambridge University Press, 2003. 'Asylum Facts and Figures', BBC online 23 July 2003. Barker, Howard. Arguments for a Theatre. 3rd edn. Manchester: Manchester University Press, 1998. Ben Chaim, Daphna. Distance in the Theatre: The Aesthetics of Audience Response. Ann Arbor, MI: UMI Press, 1984. Benjamin, Walter D. Selected Writings, ed. Marcus Bullock and Michael W. Jennings. Cambridge, London: Harvard University Press, 1996. Vol. I: 1913-1926. Benjamin, Walter D. 'Theses on the Philosophy of History', Illuminations, trans. Harry Zohn. New York: Schocken Books, 1969. Bennett, Susan. Theatre Audiences: A Theory of Production and Reception, 2nd edn. London and New York: Routledge, 1997. Billington, Michael. 'Drama Out of a Crisis', Guardian 10 April 2003, online edition. Billington, Michael. 'Theatre of War', Guardian 17 February, 2001, online edition. Blackadder, Neil. Performing Opposition: Modern Theater and the Scandalized Audience. Westport, CT: Praeger, 2003. The Bloody Sunday Inquiry, www.bloody-sunday-inquiry.org/ Baal, Augusto. Legislative Theatre: Using Performance to Make Politics, trans. Adrian Jackson. London, New York: Routledge, 1998. Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic, ed. and trans. John Willet. New York: Hill and Wang, 1964. Brook, Peter. The Empty Space. Avon, NY: Discus Books, 1969. Bumiller, Elisabeth. 'Iraq War Faces Some New Critics (The Theater Kind)', The New York Times (3 April2006) A14. Bunting, Madeleine. 'Labour Just Isn't Listening'. The Guardian Weekly 174:25 (9-15 June 2006) 5. Burke, Gregory. 'Funny Peculiar', Guardian 12 April2003, online edition. 'Chronology of Rail Crashes' and 'Safety Crisis', BBC News 10 May 2002, online edition. Deleuze, Gilles. 'One Less Manifesto: Theater and Its Critique', trans. Eliane dal Molin and Timothy Murray, in Mimesis, Masochism, and Mime: The Politics of Theatricality in Contemporary French Thought. Ann Arbor, MI: University of Michigan Press, 1997, 239-258. Originally published in Anti-Oedipus, A Thousand Plateaus, and Kafka: Toward a Minor Literature. Dollimore, Jonathan. Radical Tragedy: Religion, Ideology, and Power in the Dramas of Shakespeare and his Contemporaries, 3rd edn. Basingstoke: Palgrave Macmillan, 2003. Edelman, Murray. Constructing the Political Spectacle. Chicago and London: University of Chicago Press, 1988. Edmunds, June and BryanS. Turner, eds. Generational Consciousness, Narrative, and Politics. Lanham, MD: Rowman and Littlefield, 2002. Edgar, David. 'Secret Lives', The Guardian 19 April2003, online edition. Edwardes, Jane, ed. Frontline Intelligence 3: New Plays for the Nineties. London: Methuen, 1995. Eisenstadt, Shmuel. From Generation to Generation, 3rd ed. New Brunswick, NJ: Transaction Publishers, 2003. Bibliography 231

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7:84 companies, 5, 96 Bean, Richard, 136, 223 God Botherers, The, 212, 213-15 absurdism, 18, 24, 33, 70, 75, 116, Mentalists, The, 132-3, 186, 219 207,210,220,223 Toast, 104 Adshead, Kay Under the Whaleback, 102-5 Bogus Woman, The, 200-4 Beaton, Alistair Thatcher's Women, 6 Fee/good, 169-71 Aeschylus, 3 Beckett, Samuel, 69 Afghanistan war, 197-9 Waiting for Godot, 59 African civil wars and conflicts, 187, Belt and Braces company, 5 192-5,205-6,222 Ben Chaim, Daphna, 3 Afro-Caribbean playwrights, 8, 25-6, Benjamin, Walter, 11, 12 79,80-3,89-96,159-61 Bennett, Alan agit-prop theatre, 16 History Boys, The, 150-2, 221 Almeida Theatre, 22 Bennett, Susan, 11, 13, 225 alternative theatre, 5, 13-14, 19, 25, Bhatti, Gurpreet Kaur 136,218,219,225 Behzti (Dishonour), 141 American-British relations, 171-2, Big Life, The, 95 178-82,190-2,212-13 Billington, Michael, 7, 171 Angelou, Maya, 94 Birmingham Repertory Theatre, 83, Anglican Church, 194 117, 141 'angry young men' playwrights, 4, Black Consciousness Movement, 93 24,27 Black Theatre Cooperative, see Nitro Anouilh, Jean, 2 Theatre Company Arden, John, 4 Blackadder, Neil, 15-16, 17 Arendt, Hannah, 1 Blair, Tony, 169, 181 Aristotelian drama, 18 government of, 154-5, 171-2, 178, Artaud, Antonin, 18, 30, 223 199-200,226 Arts Council, 5, 6, 23, 225 Block, Simon, 130 Arts Theatre, London, 172 Blunkett, David, 3 Asian-British playwrights, 25-6, 79, Boal, Augusto, 18-19, 225 83-8,94-6,161-2 Bohr, Niels, 148 Aston, Elaine, 52-3, 74, 86, 200 Bond, Edward, 4 asylum seekers, 186, 192-7, 199-204, Bosnian-Serb conflict, 29, 187-8 222,227 Brandt, Willy, 126, 226 atomic bomb, 148-9 Brecht, Bertolt, 17-18 audience, 2, 3, 11-17, 22, 26, 225 Brechtian or epic theatre, 17-18, 24, 75, 79, 97, 123, 127, 137, 138, Baldwin, James, 94 150,222,223 Banner company, 19 Brenton, Howard Barker, Howard, 65-6 Paul, 145-7 Bawden, Nina, 177 Pravda (with David Hare), 6

233 234 Index

Brenton, Howard (cont.) colonialism, 195 Weapons ofHappiness, S Committee to Defend Asylum British Broadcasting Company Seekers, 204 (BBC), 80, 90, 157, 158, Commonwealth period, 4 172, 199 community theatre, 19 British National Party, 155, 184 Conservative Party, 6, 7, 63, Brittain, Victoria and Gillian Slovo 78, 169 Guantanamo, 197-9, 222 consumerism, 42-4, 64, 207, 219 Brook, Peter, 22 Corrie, Rachel, 190-2, 219 Bulger, James, murder of, 28, 29 Crimp, Martin, 22, 130 Bullough, Edward, 3 Crucible Theatre, Sheffield, Burke, Gregory, 7, 28, 220 161, 195 Gagarin Way, 208-10,220 Burton-Taylor Theatre, Oxford, 200 Daily Mail newspaper, 36 Bush Theatre, 22, 47, SO, Daldry, Stephen, 23, 47, 108 200,212 Daley, Dona, 89, 94 Bush, George, 172, 181 Blest Be the Tie, 88-9,95 business corporations, 186, 206-7, Darke, Nick 208-11,219,223 Riot, The, 136-8, 140 Butcher, Justin Darling, Alistair, 177 The Madness ofGeorge Dubya, 172 De Angelis, April, 223 Butler, Judith, 2 Wild East, 210-11 Butterworth, Jez, 47, 58, 220 Dear, Nick Mojo, 59-61, 71 Power, 124-6, 127, 130, 220 Deleuze, Gilles, 20 Campbell, Alistair, 172 Diderot, Denis, 2 Cartwright, Jim, 6 documentary theatre, 155, 169, 185, CAST (Cartoon Archetypal Slogan 190-2 Theatre), S Donmar Warehouse, 22 censorship, 4, S, 141, 190, 225 Dowie, Claire, 114 Charles I, English monarch (reigned Easy Access (for the Boys), 114-15 1603-1649), 124 Drill Hall, 114 Chelsea Theatre Centre, 97 Druid Theatre Company, Churchill, Caryl, 58, 68, 78, Galway, 61 84,223 Dublin Theatre Festival, 115 Blue Heart, 68-71 Dunbar, Andrea, 110 Blue Kettle, 70-1 Rita, Sue and Bob Too, 110-1 Heart's Desire, 68-70 Cloud Nine, 2-3, 68 Edelman, Murray, 9-10, 124 Far Away, 72-5, 186, 219 Edgar, David, 7 Fen, 68 Playing with Fire, 182-4, 223 Number, A, 75-8 Edinburgh Fringe Festival, 190 Serious Money, 6 Edmundson, Helen Skriker, The, 68 Mother Teresa Is Dead, 141-2, 214 Thyestes (translation of Seneca), 68 Eldridge, David, 47 Top Girls, 6, 52, 68, 101 Market Boy (2006), 227 class identity and conflict, 18, 78, Serving It Up, 50-2 96-109, 122 Elizabethan theatre, 4 Clean Break company, 55, 56, 207 Erickson, Jon, 22 Index 235 ethnic identity and conflict, 5, 7, 8, Grosso, Nick, 47 25-6,48,51,55, 78-96,120,122, Grotowski, Jerzy, 30 159-62, 182-5, 186-8, 192-7, Guantanamo detainees, 197-9, 222 200-6,221-2 Guardian newspaper, 7-8, 155, 171, expressionism, 75, 131, 142 177, 190 Eyre, Richard and Nicholas Wright, 5 Gupta, Tanika, 89, 94, 223 Gladiator Games, 161-2, 222 family violence, 83-6, 114-15, Sanctuary, 192-5, 222 118-21,220 Waiting Room, The, 87-8, 95 Farr, David The UN Inspector, 212, 215-16 Hackney Empire Theatre, 22, 79 Feehily, Stella, 47, 58 Hadaway, Tom, 96 Duck, 57-8 Hale, Edward Everett, 15 feminism, 5, 9, 10, 25, 52, 62, 64, Hall, Lee, 105-6 114, 121 Billy Elliot, 106-9 film, 2, 22, 30, 59, 106, 157, 172, 181 Hampstead Theatre, 22, 47, 118, Finborough Theatre, 200 169,212 Fischer-Lichte, Erica, 2, 12 Handke, Peter, 20-1 Foco Novo company, 5 Hare David, 5, 8, 177, 227 Forum Theatre, see Boal, Augusto Permanent Way, The, 174-8, Frayn, Michael 222,223 Copenhagen, 148-50, 187, 221 Pravda (with Howard Brenton), 6 Democracy, 126-30, 221 Stuf{Happens, 178-82, 187,223 Freehold company, 5 Via Dolorosa, 188-90, 192 Friel, Brian Harris, Zinnie Freedom of the City, 166 Further than the Furthest Fringe theatre(s), 5, 22, 172, 219, 225 Thing, 130-2, 136, 219 Fugard, Athol, 186 Harvey, Jonathan Beautiful Thing, 41 Galsworthy, John, 4 Hauptmann, Gerhard Gate Theatre, London, 33 Before Sunrise, 16 Gay Sweatshop company, 5 The Weavers, 15 Gems. Pam, 7 Heisenberg, Werner, 148 gender, 2-3, 31, 33, 36, 41, 52, 54, 56, Hobbes, Thomas, 60 57-8,62, 64,80, 98,114 homosexuality, 5, 40-1, generational conflict, 48-50, 60, 138-40 61-2,67,79,83-6,91-4,114-17, Hull Truck company, 23, 96 118-21, 152, 192, 195 Hutton Inquiry, 158, 173, 227 generational dialogue, 25, 28, Hytner, Nicholas, 24, 90 67-122,123,221 girl gangs, 52-6 Ibsen, Henrik, 16 globalization, 25, 64, 186, 206-7, idealism, 25, 35-6, 73, 219 208-17,219,222-3 illegal drug use, 25, 40, 42, 110-12, Godber, John, 96, 106 138,207-8 Gogol, Nikolai, 212 immigrants, 25-6, 80-2, 83-9, 95, 96, governmental systems, 124-30 186, 199 Green, Debbie Tucker, 114 Independent newspaper, 158 Born Bad, 118-20 Independent Police Complaints Gregory, Augusta, 4 Commission, 157 236 Index individualism, 28, 48, 52, 116, Lehmann, Hans-Thiess, 18, 20-1, 65 130-6,224 Lehrer, Tom, 172 International Solidarity Leigh, Mike Movement, 191 Two Thousand Years, 143-S "in-yer-face" plays, 27-66, 67, 68, 70, Lester, Adrian, 95 74, 75, 78,82,91,96, 114,122, Linden, Sonja 123,130,154,220-1,223 I Have Before Me a Remarkable Iraq war, 169, 171-4, 178-82, 185, Document Given to Me by a Young 197,222,223 Lady from Rwanda, 200-4, 220 Irish nationalism, 4 Live Theatre, Newcastle, 96, lOS Israeli-Palestinian conflict, 6, 179, Liverpool Everyman Theatre, 22, 110 187,188-92,205-6 Louis XIV, French monarch (reigned 1643-1715), 124 Jamaican gangs, SS, 82, 90-1 Jameson, Fredric, 17-18 Macedonian-Greek conflict, 200-4 Jarry, Alfred, 2 magical realism, 80-1, 87, 95, 223 Joint Stock Theatre Company, S Mamet, David, 59 Manchester Royal Exchange Kafka, Franz, 74 Theatre, 22 Kane, Sarah, 22, 27, 33, 35, 36, 38, 39, Mandela, Nelson, 155 46,47, 75, 78,130,226 Mandelson, Peter, 170 Blasted, 27, 30-3, 36, 47 Marber, Patrick, 22, 130 Cleansed, 36-8 Howard Katz, 142-3 Phaedra's Love, 33-6 Mark Taper Forum, Los Angeles, 181 Kashmir conflict, 192-S Matura, Mustapha, 79 Kelly, David, 172-3, 180, 223 Maugham, Somerset, 4 Kent Report, 155 McDonagh, Martin, 47, 58, 136, Kent, Nicolas, 24, 156, 223 220,223 Srebrenica, 187-8 Beauty Queen ofLeenane, The, 59, Kershaw, Baz, 19 61-2 Khan-Din,Ayub, 89,94,223 Lieutenant ofInishmore, The, 133-4 East Is East, 83-6, 95, 186-7 Pi/lowman, The, 134-6, 220 Kinnock, Neil, 181 McGrath, John, 1, 12, 107 Kneehigh Theatre, Cornwall, 136 melodrama, 15 Kubrick, Stanley, 172 mental illness, 25, 47-50, 61-2 Kureishi, Hanif, 79 Meyrick, Julian, 22 Kushner, Tony, 2 middle class, 30, 57, 63 Kustow, Michael, 1 Miners' strike, (1984), 106-9 Kwei-Armah, Kwame, 8, 89, 94, 223 Mitchell, Gary, 7-8, 163, 165 Elmina's Kitchen, 89-92 Force of Change, The, 163-4 Fix Up, 92-4, 95 Loyal Women, 164-S Trust, 99-100, 165 Labour Party, 6, 154, 169 modernism, 15 Lauwers, Jan, 21 Monstrous Regiment company, S Lavery, Bryony, 114 Moore, Michael, 181 Frozen, 117-18, 186, 220 Morgan, Abi, 47 Lawrence, Stephen Inquiry, 155-6, 226 Skinned, 97-9 Lawrence, Stephen, murder of, 30, Mouffe, Chantal, 21 155-8, 185 Mubarek, Zahid, murder of, 161 Index 237

Muller, Heiner, 20 Penhall, Joe, 47 Munro, Rona, 114, 223 Blue Orange, 48-50, 219 Iron, 120-1, 220 Some Voices, 47-8, SO Murray, Timothy, 11, 21 Pinero, Arthur Wing, 4 musical(s), 95, 106-9 Pinnock, Winsome, 79 Mules, 207-8 National Lottery, 23 Pinter, Harold, 4, 30, 59 National Theatre, see Royal National Pirandello, Luigi, 69 Theatre Piscator, Erwin, 17 naturalism, 15-16, 24, 54 Playhouse Theatre, London, 190 Neilson, Anthony, 28 Pleasance Theatre, London, 172 New Labour, 6, 7, 169, 182, 185, Plessner, Helmut, 2 200,225 political activism, 44-6, 130-2, Nicholson, Linda, 21 136-8, 140-1 Nightingale, Benedict, 28 political control, 124-6, 134-6, 154, Nitro Theatre Company, 79 173, 197-9 non-governmental organizations in politicalleadership, 126-30, developing countries, 213-15 169-84,222 Northern Ireland conflict, 8, 99-100, Portable Theatre company, S 133-4, ISS, 162-9,185,204,222 post-Thatcher generation, 24, 25, Northwest Spanner company, 5, 96 28-30,33,43-4,47,52, 54,63, Norton-Taylor, Richard, 155, 67,82, 109,123,220-1 158-9,226 post-Thatcher society, 6, 25-6, 30, Bloody Sunday: Scenes from the Saville 43-4,47,60,109,111,136,140, Inquiry, 165-9 185,192,197,218,221,225,226 Colouroffustice, The, 155-8, 161, postdramatic theatre, 18, 20-1 222 postmodern criticism, 4, 9, 18, 19-22, Justifying War: Scenes from the Hutton 44, 130 Inquiry, 172-4, 223 poverty, 30, 52-8, 64, 109-14, Norton, Thomas and Thomas 207-8,221 Sackville, 4 Powell, Colin, 227 Notting Hill Carnival, 19, 79 Prichard, Rebecca, 47, 58 nuclear physics, 148-50 Yard Gal, 55-6, 92 Nuffield Theatre Southampton, 97 Public Theater, New York, 181 Nunn, Trevor, 24 Race Relations Act of 2000, 157, 162 O'Casey, Sean, 4 racial identity and conflict, 7-8, 25, Oglesby, Tamsin 30,49, 51,78-96,97-9,119-20, US and Them, 212-13 122,155-62,182-5,221-2 Osborne, John railroad system, 174-8,227 Look Back in Anger, 40, 42 Ravenhill, Mark, 8, 22, 28, 38, 47, 130 Other Place, Royal Shakespeare Faust Is Dead, 44 Company, 133 Handbag, 44 Out of Joint company, 23-4, 38, 44, Mother Clap's Molly House, 138-41 57,68, 110,169,174,204,223 Shopping and Fucking, 38-44,45, 71, 105,220 Paines Plough company, 23 Some Explicit Polaroids, 44-7, 78, Patterson, Michael, S, 24 219 Peacock, D. Keith, 6, 97 Reagan, Ronald, 181 238 Index

Rebellato, Dan, 39 Soans, Robin Red Ladder company, 5 StateAffair,A, 110,111-12 Red Room company, 200 Talking to Terrorists, 204-6 regional identity and conflict, 78, social realism, 16, 24, 33, 39, 47, 79, 182-4 92,97,223 regional theatre(s), 5, 22, 96 socialist theatre, 4, 16, 219 religious identity and conflict, 85, Soho Theatre, 22, 47, 110 141-8,188-90,204-6 Sophocles, 38 restoration period, 4 Soyinka, Wale, 186 Rickman, Alan, 190 Stafford-Clark, Max, 7, 24, 39, My Name Is Rachel Corrie (with 110,223 Katherine Viner), 190 Stephens, Simon Rickson, Ian, 23 Herons, 112-14, 220 Ridley, Philip street theatre, 13, 14, 18 Pitchfork Disney, 27-8, 59 Synge, John Millington, 4 Riverside Studios, 22 Roman theatre, 12 Talawa Theatre Company, 79, 89 romanticism, 15 Tamasha Theatre, 79, 83 Royal Court Theatre, 22, 23, 27, Tara Arts Group, 5, 79 36,38,47,52,55,57,59,61, Tarantino, Quentin, 30 68, 72, 79,82,89,99, 100, Taylor, C. P., 96 102, 110, 141, 163, 164, 188, Taylor, Damilola, murder of, 190,200,204,206,207,210, 159, 162 218-19 Taylor, Paul, 158 Royal Exchange Theatre, television, 2, 9, 14, 24, 124, Manchester, 22 158, 169 Royal National Theatre, 5, 22, 24, 47, terrorism, 197, 204-6, 223 48, 79,82,90,92,95,99, 117, Thatcher, Margaret, 21, 106, 124, 124, 126, 130, 132, 136, 138, 207,227 142, 143, 145, 150, 157, 159, government of, S-7, 29-30, 78, 174, 177, 178, 181, 182, 192, 106-8,110,154,185,206 208,212,218 Thatcherism, 28, SO, 52, 63, 83, 96, Rumsfeld, Donald, 178 108, 109, 122, 130, 136, 152 Russell, Richard Rankin, 100 Theatre of Cruelty, 18, 30, 223 Russell, Willy, 96, 106 Theatre Royal Bury St. Edmonds, 44, Rwandan conflict, 192-7, 57, 68 200-4,222 Theatre Royal Stratford East, 22, 79, 80,95,157 Sartre, Jean-Paul, 3 Theatre Workshop, New York, 190 satire, 24, 169-72, 222 Theatro Technis, 172 Saunders, Graham, 28, 33, 34 Tinker, Jack, 36 Saville Inquiry, 166, 227 touring companies, 22, 23 Schechner, Richard, 1, 2, 156 trade unions, 29, 106-9 secondary education, 150-2 tragedy, 63, 65, 71, 91, 127 Shakespeare, William, 4 Traverse Theatre, Edinburgh, 68, 120, Henry V, 95 200,208 King Lear, 38 tribunal theatre, 24, 155-9, 165-9, Shaw, George Bernard, 4, 16 172-4,183,185,187-8,222, Sierz, Aleks, 28, 29, 47, 122 223,224 Index 239

Tricycle Theatre, 22, 24, 79, 155, 157, Welfare State International 165,172,187,197,223 company, 5, 19 Tron Theatre, Glasgow, 130 Wertenbaker, Timberlake Turner, Victor, 2 Credible Witness, 200-4 Wesker, Arnold, 7, 190 unemployment, 6, 25, 29, 99-102, West End (London) theatres, 22, 27, 109-14,207,221 92, 142, 157, 169 United Nations, 187-8, 215-16 Widgery Inquiry, 166, 226-7 Universal Pictures, 106 Williams, Raymond, 24 Upton, Judy, 47, 58 Williams, Roy, 80, 94 Ashes and Sand, 52-5, 56 Lift Off, 82-3 Urban, Ken, 28,64, 74 No Boys Cricket Club, The, 80-2,95 verbatim theatre, 24, 161-2, 174-8, Sing Yer Heart Out for the 190-2,197-9,204-6,222,223 Lads, 159-61, 220 Victoria Palace Theatre, 157 Wilson, Harold, governments Viner, Katherine, 190, 191 of, 5 My Name Is Rachel Corrie (with Alan Wilson, Robert, 20 Rickman), 190-2, 219 Women's Theatre Group, 5 violent crime, 47-56, 59-61, 82-3, Woods, Phil, 96 89-92,97-9, 112-14, 117-18, working class, 8, 51, 64, 85, 141, 155-62, 163-4, 182-4, 96-109, 163-5, 208-10,220 182-4,221 Wynne, Michael, 7 Walsh, Enda, 114 The People Are Friendly, 100-2 Bedbound, 115-17 Waters, Steve Young Vic Theatre, 22 World Music, 195-7, 222 Young, Iris Marion, 21