DOCSLIB.ORG

Black British Drama

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Black British Drama BLACK BRITISH DRAMA Black British Drama: A Transnational Story looks afresh at the ways black theatre in Britain is connected to and informed by the spaces of Africa, the Carib- bean and the USA. Michael Pearce offers an exciting new approach to reading modern and contemporary black British drama, examining plays by a range of writers including Michael Abbensetts, Mustapha Matura, Caryl Phillips, Winsome Pinnock, Kwame Kwei- Armah, debbie tucker green, Roy Williams and Bola Agbaje. Chapters combine historical documentation and discussion with close analysis to provide an in- depth, absorbing account of post- war black British drama situated within global and transnational circuits. A signifi cant contribution to black British and black diaspora theatre stud- ies, Black British Drama is a must- read for scholars and students in this evolving fi eld. Michael Pearce is a Lecturer in Socially Engaged Theatre at the University of Exeter, UK. BLACK BRITISH DRAMA A Transnational Story Michael Pearce First published 2017 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN and by Routledge 711 Third Avenue, New York, NY 10017 Routledge is an imprint of the Taylor & Francis Group, an informa business © 2017 Michael Pearce The right of Michael Pearce to be identifi ed as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice : Product or corporate names may be trademarks or registered trademarks, and are used only for identifi cation and explanation without intent to infringe. British Library Cataloguing- in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloguing- in-Publication Data Names: Pearce, Michael, 1977– author. Title: Black British drama : a transnational story / Michael Pearce. Description: New York : Routledge, 2017. Identifi ers: LCCN 2016051485| ISBN 9781138917859 (hardback) | ISBN 9781138917866 (pbk.) | ISBN 9781315688787 (ebook) Subjects: LCSH: Black theater—Great Britain—History—20th century. | English drama—Black authors—History and criticism. | English drama—20th century—History and criticism. Classifi cation: LCC PN2595.13.B34 P43 2017 | DDC 792.089/ 960410904—dc23 LC record available at https://lccn.loc.gov/2016051485 ISBN: 978- 1- 138- 91785-9 (hbk) ISBN: 978- 1- 138- 91786-6 (pbk) ISBN: 978- 1- 315- 68878-7 (ebk) Typeset in Bembo by Apex CoVantage, LLC CONTENTS Preface vii Acknowledgements ix Notes on the text x Introduction 1 SECTION I The USA 25 1 African Americanisation, Black Power and black British drama since the 1970s 27 2 Black Power legacies in Kwame Kwei- Armah’s Elmina’s Kitchen , Fix Up and Statement of Regret 53 3 African American myths, music, icons in Mojisola Adebayo’s Moj of the Antarctic and Muhammad Ali and Me 70 vi Contents SECTION II The Caribbean 89 4 Creolisation and the creole continuum in Caribbean British drama 91 5 Coming to voice: Roy Williams’ The No Boys Cricket Club , Lift Off , Fallout and Sing Yer Heart Out for the Lads 114 6 African accents: Bola Agbaje’s Gone Too Far! , Detaining Justice and Off the Endz 134 SECTION III Africa 153 7 Home to host- land and the hyphen in- between: African British diasporic dramas since the 1990s 155 8 Multiple personality diasporic disorder: Inua Ellams’ The 14th Tale and Untitled 178 9 Empathy in diaspora: debbie tucker green’s stoning mary , generations and truth and reconciliation 190 10 Conclusion 206 Index 216 PREFACE I am writing this just a few months after Britain’s decision to leave the EU and just before the Clinton versus Trump US election. In the background, the greatest refugee crisis since the Second World War. It is a time when politics in the West seems to be pulling at either the far left or far right sides of ideology. I teach a course on twenty- fi rst century black British drama at the Univer- sity of Exeter. We discuss prominent black British playwrights who have been making waves over the last fi fteen years. We contextualise their struggles and achievements in British and world history – slavery, colonisation, decolonisa- tion, Civil Rights, Black Power, Brixton riots, the Stephen Lawrence murder, 9/11, 7/7. Black British theatre is a barometer for a changing Britain. It tracks this evolving landscape through its exploration of themes of migration, race, belonging and nation. It is also a model for understanding the changes occurring in our rapidly globalising world regardless of our cultural back- ground or ‘race’ – whatever that word even means. In light of recent events, the issues embedded in the plays we discuss emerge more starkly than in previous years. It strengthens my belief that we are not studying works that speak to minority experiences. The plays speak to issues of global relevance that resonate with all individuals. My own experiences of migration have nurtured an interest in the move- ment of people across national borders, the meeting of cultures and their effects. I was born in Zimbabwe, where I grew up and became a member viii Preface of ‘Over the Edge’, the country’s fi rst professional multi- racial theatre com- pany. Since then I have lived in South Africa, the USA, France and the UK. Approaching an analysis of late twentieth and early twenty- fi rst century black British drama using a broader framework than the nation refl ects the way in which I make sense of and have experienced the world. Having lived in South Africa during apartheid, I have also on many occasions seen fi rst- hand the violence of racism and understood how racial difference is mobilised to divide and oppress. My career to date has been predicated on the belief that theatre can play a part in changing these belief systems and creating a better world. This book draws on research for my PhD which was awarded in 2012. Since the PhD more scholarship has emerged that makes connections between black British drama, the nation and beyond. This still remains an under- researched area, however, with much work to be done. Since the PhD, I have published essays about contemporary black British playwrights, conducted a number of fi lmed interviews with theatre practitioners for the National Theatre’s Black Plays Archive website and written a ten- part radio documentary about the history of black performance on the British stage and screen. The documentary was presented by Sir Lenny Henry and broadcast on BBC Radio 4 in late 2015. I learned a lot working with Lenny Henry who has been vocal about the lack of ethnic diversity in the media in all areas and levels of production. Institutional racism lies at the heart of this inequality. But if deep change is going to occur, it must happen at the level of educa- tion. If black British theatre history is not taught then our knowledge literally becomes whitewashed. How we understand the world and ourselves in it comes from what and how things are represented. It follows that to not tell is to forget, to make something un- happen, to render it invisible. Only once structures of oppression are made visible can we begin to dismantle them. Exeter, October 2016 ACKNOWLEDGEMENTS Thank you to Nicola Abram, Katie Beswick, Mary Brewer, Colin Chambers, Kate Edwards, Lynette Goddard, Graham Ley, Daniel Malamis, Jane Milling, Kate Newey, Deirdre Osborne, Dan Rebellato, Talia Rodgers, Kerrie Schaefer, Cathy Turner. Thank you to the staff at the British Library, the George Padmore Institute, National Theatre Archive and the Victoria and Albert Museum. A special thank you to the practitioners I interviewed for this book and over the course of my research in this area, including Mojisola Adebayo, Ola- dipo Agboluaje, Yvonne Brewster, Denton Chikura, Felix Cross, Inua Ellams, Arinze Kene, Kwame Kwei- Armah, Mustapha Matura, Courttia Newland, Roy Williams. Special thanks to Gemma Birss, David Sabel and Christopher Stafford. NOTES ON THE TEXT Notes on terminology In this book race is understood to be a socially constructed and contest- able category. Throughout ‘black’ is spelt with a lower case ‘b’ indicating a non- essentialising term that refers to colour or racial identifi cation. The upper case spelling – ‘Black’ – is used to connote an Afrocentric identity or articulate a political position of empowerment (e.g. Black Power). Race and ethnicity are not used interchangeably. In the UK during the 1970s and 1980s the term ‘Black’ (adopted from the USA) signifi ed a political identity used by people of African, Caribbean and South Asian descent in solidarity against the white majority. For example, the Indo- Trinidadian playwright Mustapha Matura identifi es himself as Black. However, black was also used by the white majority as a blanket term which placed all non- white people into one homogeneous group. Today black tends to refer to people of African ancestry only. In this book, reference to specifi c countries and cultures is balanced with the use of much broader terms ‘Africa’ and ‘the Caribbean’. This usage responds to how some people self- identify with these continental/regional spaces. It also highlights how these vast and complex spaces become stream- lined within the UK whereby, over time, intricate cultural differences and specifi c ethnic identifi cations become fl attened out. Their usage also refl ects how these terms are employed as organising categories in the UK at a popular (e.g. Caribbean carnival), political and cultural (e.g.
Load more

Recommended publications
  • Chicago's Goodman Theatres the Transition from a Division of the Art Institute of Chicago to an Independent Regional Theatre
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. If copyrighted materials were deleted you will find a target note listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in "sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete.
    [Show full text]
  • Roy Williams Has Been Quoted in the Guardian Saying: "We Only Ever Get
    Comedy, drama and black Britain – An interview with Paulette Randall Eva Ulrike Pirker British theatre director Paulette Randall once said about herself and her work, "I'm not a politician, and I never set out to be one. What I do believe is that if we are in the business of theatre, of art, of creating, then that has to be at the forefront. The product, the play, has to be paramount."1 A look at her creative output, however, shows her political engagement in place – not so much in the sense of taking a proffered side, but certainly in the sense of insisting on participation in the public debate. To name just a few of her recent projects: Her 2003 production of Urban Afro Saxons at the Theatre Royal Stratford East was a timely intervention in the public debate about Britishness. The staging of James Baldwin's Blues for Mr Charlie (2004) at the Tricycle Theatre provided a thought-provoking viewing experience for a British audience in the wake of the Stephen Lawrence Inquiry. For the Trycicle and Talawa Theatre Company, Randall has staged four of August Wilson's plays. Her most recent theatre project was a production of Mustapha Matura's adaptation of Chekhov's Three Sisters at the Birmingham Repertory Theatre in 2006.2 However, Paulette Randall also has a professional life outside the theatre, where she makes her impact on the landscape of British sitcoms as a television producer. The following interview focuses not so much on specific productions, but more generally on her views on television, Britain's theatre culture, and the representations of Britain's diverse society.
    [Show full text]
  • Black and Asian Theatre in Britain a History
    Black and Asian Theatre in Britain A History Edited by Colin Chambers First published 2011 ISBN 13: 978-0-415-36513-0 (hbk) ISBN 13: 978-0-415-37598-6 (pbk) Chapter 8 ‘All a we is English’ Colin Chambers CC BY-NC-ND 4.0 8 ‘All A WE IS English’1 Britain under Conservative rule in the 1980s and for much of the 1990s saw black and Asian theatre wax and then wane, its growth the result of earlier forces’ coming to a head and its falling away a consequence of cuts allied to a state-driven cultural project that celebrated the individual over the collective and gave renewed impetus to aggressive, narrow nationalism. How to survive while simultaneously asserting the heterodox, hybrid nature of non-white theatre and its contribution to British theatre was the urgent challenge. Within two years of the Thatcher government’s election to power in 1979, Britain saw perhaps the most serious rioting of its postwar era, which led to major developments in public diversity policy, though less significant change at the level of delivery. The black community could no longer be taken for granted and was demanding its rights as British citizens. The theatre group that epitomized this new urgency and resilience and the need to adapt to survive was the Black Theatre Co-operative (BTC).2 The group was founded by Mustapha Matura and white director Charlie Hanson in 1978 after Hanson had failed to interest any theatres in Welcome Home Jacko, despite Matura’s standing as the leading black playwright of his generation.
    [Show full text]
  • Black British Plays Post World War II -1970S by Professor Colin
    Black British Plays Post World War II -1970s By Professor Colin Chambers Britain’s postwar decline as an imperial power was accompanied by an invited but unprecedented influx of peoples from the colonized countries who found the ‘Mother Country’ less than welcoming and far from the image which had featured in their upbringing and expectation. For those who joined the small but growing black theatre community in Britain, the struggle to create space for, and to voice, their own aspirations and views of themselves and the world was symptomatic of a wider struggle for national independence and dignified personal survival. While radio provided a haven, exploiting the fact that the black body was hidden from view, and amateur or semi-professional club theatres, such as Unity or Bolton’s, offered a few openings, access to the professional stage was severely restricted, as it was to television and film. The African-American presence in successful West End productions such as Anna Lucasta provided inspiration, but also caused frustration when jobs went to Americans. Inexperience was a major issue - opportunities were scarce and roles often demeaning. Following the demise of Robert Adams’s wartime Negro Repertory Theatre, several attempts were made over the next three decades to rectify the situation in a desire to learn and practice the craft. The first postwar steps were taken during the 1948 run of Anna Lucasta when the existence of a group of black British understudies allowed them time to work together. Heeding a call from the multi-talented Trinidadian Edric Connor, they formed the Negro Theatre Company to mount their own productions and try-outs, such as the programme of variety and dramatic items called Something Different directed by Pauline Henriques.
    [Show full text]
  • Gre Sham College
    ,. , GRE SHAM COLLEGE WILL CROSS-CULTURAL THEATRE EVER WORK ON THE ENGLISH STAGE? A Lecture by PROFESSOR LYNETTE HUNTER MA PhD Gresham Professor of Rhetoric with PETER LICHTENFELS 21 October 1998 Policy & Objectives An independently finded educational institution, Gresham College exists to continue the free public lectures which have been given for 400 years, and to reinterpret the ‘new learning’ of Sir Thomas Gresham’s day in contemporary te~s; , to engage in study, teaching and research, particularly in those ~disciplines represented by the Gresham Professors; to foster academic consideration of contemporary problems; to challenge those who live or work in the City of London to engage in intellectual debate on those subjects in which the City has a proper concern; and to provide a window on the City for learned societies, both national and international. Gresham College, Barnard’s Inn Hall, Holbom, London EC lN 2HH Tel: 01718310575 Fax: 01718315208 e-mail: enquiries@gresham. ac.uk , Will Cross-Cultural Theatre ever work on the English Stage? Professor Lynette Hunter, with Peter Lichtenfels I will approach the question of the survival of cross-cultural theatre in Britain in 3 ways: I would like to look first, at the welcome (or not) given to international theatre that visits the UK, particularly European theatre, second, at the place of theatre from a variety of cultural traditions flourishing in the UK as a result of immigration in the second half of this centu~, and third, at the export of British theatre to an international setting. In the first lecture of this 1998-99 sefies I spoke of some of the changes to the funding of British Theatre in the 80s, and their impact on the distinctive waves of new plays and classic revivals from the 70s to the present day.
    [Show full text]
  • Island Rewrites: Postcolonial Caribbean, British and Irish Revisions
    Island Rewrites: Postcolonial Caribbean, British and Irish Revisions. Eleanor Naomi Kingsford A thesis submitted for the degree of Master of Arts by Dissertation in Literature Department of Literature, Film and Theatre Studies University of Essex October 2018 2 Island Rewrites: Postcolonial Caribbean, British and Irish Revisions. Contents Contents ...................................................................................................... 2 Acknowledgements .................................................................................... 3 Abstract ...................................................................................................... 4 Introduction ................................................................................................ 6 1. Re: Framing Europe: Subtext, Admiration, Mimicry .......................... 12 2. Ireland and The Caribbean: Shared History, Shared Words ................ 36 3. Approaches to The Canon .................................................................... 60 Conclusion ................................................................................................ 86 Bibliography ............................................................................................. 90 Eleanor Kingsford 3 Acknowledgements I would like to acknowledge and thank the incredibly important people, without whom, this endeavour would have not been possible. Firstly, to Dr. Jak Peake, for his support, guidance and invaluable insight into this research project. I owe a debt of gratitude
    [Show full text]
  • Supported by the Peggy Ramsay Foundation
    CELEBRATING 1 8 YEARS OF SINCE 1 9 9 7 Supported by The Peggy Ramsay Foundation Thursday 20 November 2014 The Dorfman, National Theatre 1 A5FAGONprogramme.indd 1 04/11/2014 11:31:27 Past winners of the Alfred Fagon Award for Best New Play of the Year photographed by Richard H. Smith at Theatre Royal Stratford East on 27 June 2014. Linda Brogan (joint winner 2001), Shenagh Cameron (1998), Lorna French (2006), Levi David Addai (2011), Diana Nneka Atuona (2013), Paula B. Stanic (2008), Trevor Williams (2002), Marcia Layne (2003), Oladipo Agboluaje (2009). “The Peggy Ramsay Foundation spends its income in helping writers for the stage. Since the Alfred Fagon Award came into existence the Foundation has provided funds for its awards. The Award’s encouragement for the ethnic writers it supports has been a valuable and productive achievement and the Foundation is honoured to have been able to assist in that work. We hope to be able to continue contributing to the Award and its important success.” G Laurence Harbottle, Trustee, The Peggy Ramsay Foundation “The Alfred Fagon Award has made a unique contribution to the development of a diverse repertoire of writers and plays over the past 18 years; many of the past winners of the Award have established themselves as important voices within the culture of this country. The trail blazed by Alfred Fagon and his contemporaries continues to inspire and motivate new generations of creative artists. The National Theatre is delighted to support the Award by hosting the reception for the winning author and
    [Show full text]
  • Black British Theatre: a Transnational Perspective
    Black British Theatre: A Transnational Perspective Volume 1 of 2 Submitted by Michael Christopher Pearce, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama, January 2013. This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. (Signature) ........................................................................................ 1 Abstract This thesis examines post-war black British theatre through a transnational lens. It argues that the hitherto prioritization of a national paradigm in discussions of black British theatre is not sufficiently complex to chart the historical processes that have shaped it and the multiple spatial, cultural, and political contexts in which it has been generated. This thesis finds that a transnational optic exposes a network of connections – physical, ideological and psychic – between blacks in Britain and other global black communities which have shaped and transformed the lives of Britain‟s black communities and their cultural production. The thesis is divided into three chapters: the USA (chapter 1), the Caribbean (chapter 2), and Africa (chapter 3). Each chapter represents a specific geo- cultural-political space with which black British theatre has an important relationship. Each chapter follows the same broad structure: the first half of the chapter establishes a particular transnational process and mode of analysis which frames the ensuing historical discussion; the second half is devoted to an analysis of two contemporary black British dramatists.
    [Show full text]
  • Plays Bibliography
    Black Playwrights in Britain in Print Ugly Rumours (Tricycle) NHB, 1998 Collateral Damage (with Brenton, de la Tour, produced Tricycle by Susan Croft, Curator of Contemporary Theatre) Oberon, 1999 Performance [email protected] Snogging Ken (with Brenton) Oberon, 2000 Karim Alrawi (Egypt, 1953) This bibliography is a revised version of the one A Colder Climate (Joint Stock) Methuen,1986 published in Black and Asian Plays Anthology ed. Migrations, Playwrights Press, 1986 Cheryl Robson, Aurora Metro, 2000, Mulk Raj Anand email: [email protected] Untouchable (novel 1940 adapted by Tamasha, 1989 – see under Bhuchar) The following bibliography lists the work of those black Nkemba Asika (aka Frank John) i.e. African-Caribbean and Asian playwrights whose orange lady (self-published, no date) work has been published - and in most cases B Harwant Bains (1963) produced - in Britain. Where the publisher’s name Blood (Royal Court) Methuen 1988 given below (e.g. Faber or Aurora Metro) is followed by Indian Summer (National Theatre, 1995) in Making Scenes a second date this indicates that the publication date Short Plays for Young Actors 3, Methuen, 1995 differs substantially from the first production date, Shango Baku (Trinidad) One Bad Casa which usually appears in brackets with the producing Revo company. Where a writer is based primarily in Britain Ruby, My Dear though African (Biyi Bandele) or American by birth in Three Plays of Our Time Trinidad: Baku Publications, 1984 (Bonnie Greer), or has been substantially produced or Parv Bancil Made in England (BAC, 1998) in Black and Asian Plays formerly based in Britain though they may now be Anthology ed.
    [Show full text]
  • Ethnic Diversity in the Making of Britain
    DOCUMENT RESUME ED 429 155 UD 032 881 AUTHOR Frow, Mayerlene TITLE Roots of the Future: Ethnic Diversity in the Making of Britain. INSTITUTION Commission for Racial Equality, London (England). ISBN ISBN-1-85442-179-4 PUB DATE 1997-03-00 NOTE 138p.; For the companion "education pack", see UD 032 882. Photographs may not reproduce clearly. AVAILABLE FROM Central Books, 99 Wallis Road, London E95LN, England, United Kingdom (9.95 British pounds). PUB TYPE Books (010) EDRS PRICE MF01/PC06 Plus Postage. DESCRIPTORS *Cultural Awareness; Cultural Differences; *Ethnicity; Foreign Countries; History; *Immigrants; Immigration; Instructional Materials; Multicultural Education; *Racial Differences; *Social Change; Urban Areas IDENTIFIERS *Great Britain ABSTRACT The aim of this book is to show that Britain has benefited enormously from immigration and ethnic diversity throughout history. The first part of the book, "Immigrants Past and Present," gives an account of the role played by a few of the migrant communities who came to Britain and settled before the end of World War II. The contributions they have made and the difficulties they have faced are outlined. The second part of the book, "The Contributions of Britain's Ethnic Minorities," focuses on the 50 years since the end of World War II through a selection of "snapshots" of key areas of society where immigration and ethnic diversity have enriched life in Britain. The final section, "Roots of the Future," emphasizes the importance of recognizing ethnic diversity in planning for Britain's future. A list of key dates in British history is included. (Contains 77 references.)(SLD) ******************************************************************************** * Reproductions supplied by EDRS are the best that can be made * * from the original document.
    [Show full text]
  • London Mission Volume 75 - November 2019 Contents London Mission / November 2019 / Issue 75 16
    LONDON MISSION VOLUME 75 - NOVEMBER 2019 CONTENTS LONDON MISSION / NOVEMBER 2019 / ISSUE 75 16 1/ Message from Her Excellency Paula-Mae Weekes on the Occasion of Republic Day 2019 1/ Message from the Honourable Dr Keith Rowley, Prime Minister on the Occasion of Republic Day 2019 2/ 50th Anniversary National Awards THE HIGH COMMISSIONER’S CORNER 6/ Message from His Excellency Orville London 7/ The High Commission Bids Farewell to Mr Elston Baird, Immigration Attaché VIEWS 18 36 FROMTHE MISSION 10/ Diaspora Discussions on Topical Issues 11/ Tobago Crusoe Featured at Windrush Event 12/ Caricom Day Celebrations In London 13/ Tobago Honey Highlighted At Bee Garden Party THE DIASPORA SPEAKS 14/ Double Recognition For Asiya Mohammed 14/ Prestigious Award For Trinidad And Tobago Born Author 18/ Chelsea Flower Show Gold For Trinidad And Tobago 18/ Law And Multicultural Medicine Colloquium At The London Mission 21/ Trinidad And Tobago Groups Active in the United Kingdom 24/ TNTGA Celebrates Trinidad and Tobago’s Independence in 41 Germany 26/ Reverend Patricia Anne Hyacinth Stephens (1938 – 2019) 31/ Notting Hill Carnival Competition Results TRINIDAD AND TOBAGO NEWS 35/ Commonwealth Foreign Affairs Ministers Meeting 36/ Investt Receives Award For “2019 Top Investment Promotion Agency” At World Forum 39/ IOPC Funds Meeting in London 42/ Nationals Discuss Security And Immigration Issues 45/ Rememberance Sunday A Publication of: CONTRIBUTING WRITERS STAY CONNECTED The High Commission for the Republic of HE Orville London Trinidad and Tobago, London Mrs Beverley Awonaya 42 Belgrave Square, London SW1X 8NT Mr Lawson C. Lovell Facebook TEL: 020 7245 9351 TTHC London PROOFING: FAX: 020 7823 1065 Mrs Beverley Awonaya Twitter EMAIL: [email protected] @TTHC_London PRINTING CONTRIBUTING Complete the Nationals Registration Public Affairs, Culture and Tourism PHOTOGRAPHERS Form online or in person at the T&T Department of The High Commission for Mr Lawson C.
    [Show full text]
  • The Sunday Night Productions Without Decor at the Royal Court Theatre, 1957-1975
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1984 The undS ay Night Productions Without Decor at the Royal Court Theatre, 1957-1975 (England, Playwriting, Drama). Gordon Maxwell Bolar Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Bolar, Gordon Maxwell, "The undS ay Night Productions Without Decor at the Royal Court Theatre, 1957-1975 (England, Playwriting, Drama)." (1984). LSU Historical Dissertations and Theses. 4006. https://digitalcommons.lsu.edu/gradschool_disstheses/4006 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1.The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed.
    [Show full text]