Dennis Conta 1980 When He Ran Against the Current School, from Which He Received a Editor S Note: This Is the First in a SPEAK ITS NAME Mayor, Henry Maier
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George Harrison
COPYRIGHT 4th Estate An imprint of HarperCollinsPublishers 1 London Bridge Street London SE1 9GF www.4thEstate.co.uk This eBook first published in Great Britain by 4th Estate in 2020 Copyright © Craig Brown 2020 Cover design by Jack Smyth Cover image © Michael Ochs Archives/Handout/Getty Images Craig Brown asserts the moral right to be identified as the author of this work A catalogue record for this book is available from the British Library All rights reserved under International and Pan-American Copyright Conventions. By payment of the required fees, you have been granted the non-exclusive, non-transferable right to access and read the text of this e-book on-screen. No part of this text may be reproduced, transmitted, down-loaded, decompiled, reverse engineered, or stored in or introduced into any information storage and retrieval system, in any form or by any means, whether electronic or mechanical, now known or hereinafter invented, without the express written permission of HarperCollins. Source ISBN: 9780008340001 Ebook Edition © April 2020 ISBN: 9780008340025 Version: 2020-03-11 DEDICATION For Frances, Silas, Tallulah and Tom EPIGRAPHS In five-score summers! All new eyes, New minds, new modes, new fools, new wise; New woes to weep, new joys to prize; With nothing left of me and you In that live century’s vivid view Beyond a pinch of dust or two; A century which, if not sublime, Will show, I doubt not, at its prime, A scope above this blinkered time. From ‘1967’, by Thomas Hardy (written in 1867) ‘What a remarkable fifty years they -
1 Sticky Stories: Joe Orton, Queer History, Queer Dramaturgy
Sticky Stories: Joe Orton, Queer History, Queer Dramaturgy. Stephen Farrier Royal Central School of Speech and Drama, University of London. Joe Orton, commonly thought of as a playwright of risqué farces in the 1960s, was a very present figure for a while in the gay community in the UK in the late 1980s and early 1990s (perhaps because his biography was published late in the 1970s, his diaries in 1986 and a film based on the diaries released 1987). His presence in 1980s and 1990s gay culture was in part because he met a death worthy of column inches and, importantly, he stood as emblematic of a past homosexual who refused to curb his sexuality whilst living in a conservative social context. In England and Wales, homosexuality was not criminalised in the 1980s and 1990s as it had been in the 1950s and 1960s, but there were present homophobic social values and legislation (Section 28, unequal age of consent) that resonated with the context within which Orton was writing and his work was first being produced.1 Orton’s figure as a queer and a playwright stood as both inspiration and a lesson from the past, one that reminded queers and gays in the 1980s and 1990s that the fight for equality does not end with a change in the legal status of homosexuality, or indeed in the 2010s, with equal marriage. Yet in recent years Orton’s work has fallen out of favour and does not appear as often as it once did on the queer cultural landscape. There are many reasons for this, not least of all that the kind of work that Orton makes might not register as queer or even gay now. -
Prick up Your Ears: the Biography of Joe Orton Free
FREE PRICK UP YOUR EARS: THE BIOGRAPHY OF JOE ORTON PDF John Lahr | 320 pages | 02 Sep 2002 | Bloomsbury Publishing PLC | 9780747560142 | English | London, United Kingdom Prick Up Your Ears - Wikipedia As IMDb celebrates its 30th birthday, we have six shows to get you ready for those pivotal years of your life Get some streaming picks. Title: Prick Up Your Ears Take a look back at Gary Oldman 's movie career in photos. See more Gary. This movie is the story of the spectacular life and violent death of British playwright Joe Orton Gary Oldman. In his teens, Orton is befriended by the older, more reserved Kenneth Halliwell Alfred Molinaand while the two begin a relationship, it's fairly obvious that it's not all about sex. Orton loves the dangers of bath-houses and liaisons in public restrooms; Halliwell, not as charming or attractive as Orton, doesn't fare so well in those environments. While both long to become writers, it is Orton who achieves fame. His plays "Entertaining Mr. Sloane" and "Loot" become huge hits in London of the sixties, and he's even commissioned to write a screenplay for the Beatles. But Orton's success takes him farther from Halliwell, whose response ended both his life and the life of the up-and-coming playwright. Director Stephen Frears has often picked up interesting subjects for his films. Set in the 60s, this was during the time when 'being gay' in public was considered a criminal offense in parts of UK. Joe Orton is confident, talented, mellow and liked by everyone while his partner Halliwell is comparatively shy and distant and resentful of Joe's success as he claims to be the man behind his partner's success and complains about not receiving enough credit for it. -
WHAT the BUTLER SAW: Know-The-Show Guide
The Shakespeare Theatre of New Jersey WHAT THE BUTLER SAW: Know-the-Show Guide What the Butler Saw by Joe Orton Know-the-Show Audience Guide researched and written by the Education Department of Artwork by Scott McKowen The Shakespeare Theatre of New Jersey WHAT THE BUTLER SAW: Know-the-Show Guide In this Guide – About Joe Orton........................................................................................................................ 2 – The Works of Joe Orton ............................................................................................................. 4 – What the Butler Saw: A Synopsis .............................................................................................. 5 – About What the Butler Saw ....................................................................................................... 6 – Who’s Who in the Play ............................................................................................................. 7 – The Changing Face of Theatre in the 60s ................................................................................... 8 – Joe Orton’s Contemporaries ...................................................................................................... 9 – Farce: A Brief Overview .......................................................................................................... 10 – Orton and Farce ...................................................................................................................... 11 – Commentary & Criticism ....................................................................................................... -
LOOT Education Pack
LOOT Education Pack 1 Contents Introduction ............................................................................................................................... 3 Joe Orton ................................................................................................................................... 4 My brother, Joe ......................................................................................................................... 6 Synopsis of Loot ......................................................................................................................... 7 Censorship ............................................................................................................................... 10 Loot Coverage .......................................................................................................................... 11 Notes from the Director .......................................................................................................... 12 Meet Dennis and Hal ............................................................................................................... 14 Funny Money: Loot then and now .......................................................................................... 15 Glossary of Terms .................................................................................................................... 17 Credits ...................................................................................................................................... 18 This -
Through the Closet with Ken and Joe
The University of Manchester Research Through the closet with Ken and Joe DOI: 10.1080/14682761.2017.1333832 Document Version Accepted author manuscript Link to publication record in Manchester Research Explorer Citation for published version (APA): Dorney, K. (2017). Through the closet with Ken and Joe: a close look at clothes, poses and exposure. Studies in Theatre and Performance, 1-20. https://doi.org/10.1080/14682761.2017.1333832 Published in: Studies in Theatre and Performance Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:06. Oct. 2021 Studies in Theatre and Performance Through the Closet with Ken and Joe: a close look at clothes, poses and exposure. --Manuscript Draft-- Full Title: Through the Closet with Ken and Joe: a close look at clothes, poses and exposure. Manuscript Number: RSTP- 2017-0030 Article Type: Original Article Keywords: Joe Orton Kenneth Halliwell Queer Fashion Photography Clothes Abstract: It is fitting that the prurient fascination that surrounds Joe Orton's life, work and death should be fed by Orton's determination to position his body in the public eye. -
Introducing Orton
The University of Manchester Research Introducing Orton DOI: 10.1080/14682761.2017.1356660 Document Version Accepted author manuscript Link to publication record in Manchester Research Explorer Citation for published version (APA): Dorney, K. (2017). Introducing Orton: a history and a historiography. Studies in Theatre and Performance, 1-8. https://doi.org/10.1080/14682761.2017.1356660 Published in: Studies in Theatre and Performance Citing this paper Please note that where the full-text provided on Manchester Research Explorer is the Author Accepted Manuscript or Proof version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version. General rights Copyright and moral rights for the publications made accessible in the Research Explorer are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Takedown policy If you believe that this document breaches copyright please refer to the University of Manchester’s Takedown Procedures [http://man.ac.uk/04Y6Bo] or contact [email protected] providing relevant details, so we can investigate your claim. Download date:10. Oct. 2021 Studies in Theatre and Performance Introduction: Introducing Orton: A history and a historiography --Manuscript Draft-- Full Title: Introduction: Introducing Orton: A history and a historiography Manuscript Number: RSTP- 2017-0036 Article Type: Original Article Keywords: Joe Orton Kenneth Halliwell Historiography Biography Dramaturgy Abstract: No abstract necessary as this is the editor's introduction to the journal Powered by Editorial Manager® and ProduXion Manager® from Aries Systems Corporation Title Page (incl. -
Joe Orton, His Life and What the Butler Saw by Susan Myer Silton, Dramaturge
Parallels: Joe Orton, His Life and What the Butler Saw by Susan Myer Silton, Dramaturge Joe Orton put the finishing touches on his play, What the Butler Saw, early in July 1967. He had been writing it since October 1966. It was a product of an intensely prolific period, where he also penned Funeral Games for television, a film script, and the major revisions of Ruffian and Erpingham, which was published under the title Crimes of Passion. On Sunday, the 16th of July, 1967, he wrote in his diary that he had finished typing his final draft: “I added very little on this version (just incorporated Kenneth’s suggestions, which were excellent) …” Kenneth Halliwell, with whom he had spent the last 17 years, was also a writer. Orton would never see the play produced; Halliwell murdered him and killed himself in the early morning hours of August 9, 1967. His obituary in The Times, written by drama critic Irving Wardle, called Orton “one of the sharpest stylists of the British new wave”. Orton’s biographer, John Lahr, wrote that his “oeuvre was small but his impact was large”. These notes will attempt to describe for you the impact on Orton’s work of the times and environment in which he lived, as well as his relationships with his family and with Kenneth Halliwell. My hope is that it will give you context and fuel for development of character and your understanding of Orton’s themes and through lines. Joe Orton was born January 1, 1933 in Leicester, United Kingdom. In September 1939, Britain declared war on Germany and went to war against Japan in 1941, after it attacked British colonies in Asia. -
What the Butler Saw Theatre in Halifax, Warns Us
fairs), as Stephen Pederson said reviewing the recent production at Neptune What the Butler Saw Theatre in Halifax, warns us. "It has to be a sex farce." Joe Orton Born John Kingsley Orton, January 1, 1933 in Leicestershire, England, Orton started off as an actor but switched to writing in the late 1950's. His first successful play was a radio play, The Ruffian on the Stair, broadcast by the BBC. His three full-length plays, Entertaining Mr. Sloane (1964), Loot (1965) and What the Butler Saw (1969) were all brilliantly successsful. They were all "outrageous and unconventional black comedies that scandalized audiences with their examination of moral corruption, violence, and sexual rapacity" (Encyclopedia Britannica). In his plays, he expresses his dislike of social institutions and attempts to shock his viewers. By Joe Orton He was approached to do a film script for the Beatles but it was turned down by Brian Epstein because it wasn't suitable. Orton had the Beatles commit adultery, murder, dress in drag, go to prison, and seduce the niece of a priest. A Playgoer's Guide On August 9th, 1967, Orton's lover, Kenneth Halliwell, killed Orton with a Synopsis hammer and then killed himself with an overdose of sleeping pills. He had willed his work to Halliwell, whose family would have destroyed it, but the This two act play, full of many ironies, explores the shady private practice of coroner ruled the Orton actually died after Halliwell as Orton was in a coma for Dr. Prentice. This lustful psychiatrist is attempting to seduce Geraldine Barclay, some hours after Halliwell ingested the pills.