DOCSLIB.ORG

A STUDY of THEMATIC STRUCTURE in the PLAYS of CHRISTOPHER FRY by JAMES WOODFIELD BA, Universi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A STUDY of THEMATIC STRUCTURE in the PLAYS of CHRISTOPHER FRY by JAMES WOODFIELD BA, Universi THE WHOLE SIGNIFICANCE OF UNITY: A STUDY OF THEMATIC STRUCTURE IN THE PLAYS OF CHRISTOPHER FRY by JAMES WOODFIELD B.A., University of British Columbia, 1965 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA September, 1971 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of £L W Q tf The University of British Columbia Vancouver 8, Canada Date ABSTRACT In Curtmantle, William Marshal recalls that Henry's appoint• ment of Becket to Canterbury promised unity, but "the whole significance of unity was not debated." Christopher Fry is constantly exploring the nature of unity and seeking its significance. The purpose of this dissertation is to examine how the themes of his plays are structured in language and patterns of action which both exemplify unity and reach for ontological meaning in terms of a vision of a unified universe. Fry's work concentrates on a group of closely related themes: the positive power of love, both eros and agape; the wonder, paradoxes and unity of existence; the cycle of life, death and renewal; the operation of necessity and the nature of individuality; and man's relationship with the universe and with God. A direct approach could be made on a thematic basis, but the emphasis of this dissertation is on the structural integration of each separate play, and on the way in.which these themes are expressed through aspects of structure. Many of the themes are common to several plays, and the variety of forms which Fry develops to express them is one indication of his stature as a dramatist. Another possible organization of material would be to group the plays under the headings "secular." and "religious." This method would make an arbitrary distinction'.between plays that have an overt religious content and those that do not. One of the important results of these analyses is that the "secular" plays exhibit patterns that make religious statements as positive as those that deal directly with religious subjects. The chronological play-by-play approach chosen contains the built-in danger of fragmentation. Against this disadvantage stands the advantage that the development of Fry's ideas, techniques and skill can be observed. A unifying factor is that themes and configurations—particularly in character relationships—recur and are reworked in fresh contexts. The dominant direction of Fry's work is in a dual quest, for meaning and for God. Each play is, in Fry's own phrase from A Sleep of Prisoners, an "exploration into God," and . " the analyses aim to show how this quest is pursued in each play. Critical attention has tended to focus on Fry's verse at the expense of a broader view of his plays. The poetry is only one means—albeit an extremely important one—through which the themes are expressed. They also receive implicit expression through other aspects of the dramatic structure, dealt with where appropriate. Part of the introduction, which first places Fry in a general historical and cultural perspective, deals with the function of poetry in modern drama, and with Fry's views on the subject. The choice of poetry as a vehicle for dramatic expression stems from his world view: it is a natural mode for a man who sees existence as a complex mystery to be comprehended intuitively rather than rationally. He is acutely aware that existence is not only mysterious and complex, but that it also has a shape or pattern in which meaning can be found. For Fry, the combination of mystery and pattern finds its best expression in the form of poetic drama. CONTENTS Page Acknowledgements i Preface ii List of Plays and Abbreviations v I Introduction 1 II The Boy with a Cart: Faith and Quest .... 29 III The Firstborn: Antithesis and Enigma .... 47 IV A Phoenix Too Frequent: Exchange 73 V Thor, with Angels: Sacrifice 96 VI S-M L^dy' s Not for Burning: Harlequinade . .117 VII Venus Observed: Eros 146 VIII A Sleep of Prisoners: Exploration . .164 IX The Dark Is Light Enough: Agape 185 x Curtmantle: The Form of Unity 201 XI Conclusion 219 Bibliography 232 Vita Acknowledgements I would like to express my sincere gratitude to the following for their help and co-operation: to Mr. Fry for his time and courtesy when I visited him; to the Macmillan Family Fellowship for two years' financial subsistence; to the University of New Brunswick for summer travel grants which facilitated completion of the dissertation; to Dr. M. W. Steinberg and the other readers for their criticism and suggestions; and to my wife, Catherine, for bearing with the inhibitions placed on family and social life by the demands of a dissertation. Preface In Gurtmantle, William Marshal recalls that Henry's appoint• ment of Becket to Canterbury promised unity, but "the whole significance of unity was not debated." Christopher Fry is constantly exploring the nature of unity and seeking its signi• ficance. The purpose of this dissertation is to examine how the themes of his plays are structured in language and patterns of action which both exemplify unity and reach for ontological meaning in terms of a vision of a unified universe. Fry's work concentrates on a group of closely related themes: the positive power of love, both eros and agape; the wonder, para• doxes and unity of existence; the cycle of life, death and renewal; the operation of necessity and the nature of individuality; and man's relationship with the universe and with God. A direct approach could be made on a thematic basis, but I have chosen to place the emphasis of my dissertation on the structural integration of each separate play, and to show how these themes are expressed through aspects of structure. Many of the themes are common to several plays, and the variety of forms which Fry develops to express them is one indication of his stature as a dramatist. Another possible organization of material would be to group the plays under the headings "secular" and "religious." This method would make an arbitrary distinction between plays that have an overt religious content and those that do not. One of the important results of my analyses is that the "secular" plays exhibit patterns that make religious statements as positive as those that deal directly with religious subjects. The chronological play-by-play approach I have chosen contains the built-in danger of fragmentation.. Against this disadvantage stands the advantage that the development of Fry's ideas, techniques and skill can be observed. A unifying factor is that themes and configurations—particularly in character relationships--recur and are reworked in fresh contexts. The dominant direction of Fry's work is in a dual quest for meaning and for God. Each play is, in Fry's own phrase from A Sleep of Prisoners, an "exploration into God," and in my analyses my aim is to show how this quest is pursued in each play. Critical attention has tended to focus on Fry's verse at the expense of a broader view of his plays. The poetry is only one means—albeit an extremely important one—through which the themes are expressed. They also receive implicit expression through other aspects of the dramatic structure, which I will deal with where appropriate. Part of my introduction, which first places Fry in a general historical and cultural perspective, deals with the function of poetry in modern drama, and with Fry's views on the subject. The choice of poetry as a vehicle for dramatic expression stems from his world view: it is a natural mode for a man who sees existence as a complex mystery to be comprehended intuitively rather than rationally. He is acutely aware that existence is not only mysterious and complex, but that it also has a shape or pattern in which meaning can be found. For Fry, the combination of mystery and pattern finds its best expression in the form of poetic drama. List of Plays and Abbreviations The Box with a Cart (1939) Boy The Firstborn (1946) Firstborn A Phoenix Too Frequent (1946) Phoenix Thor, with Angels (1948) Thor The Lady's Not for Burning (1949) Lady Venus Observed (1950) Venus A Sleep of Prisoners (1951) Sleep The Dark Is Light Enough (1954) Dark Curtmantle (1961) Curtmantle A Yard of Sun (1970) Yard In each chapter after the Introduction, a play is given its full title when first mentioned; thereafter, the abbreviated title is used. Chapter One Introduction Christopher Fry was born at Bristol on Dec. 18, 1907, to Charles John Harris and Emma Marguerite Hammond, the daughter of Emma Louise Fry. Charles Harris, an ex-architect Anglican lay preacher, died in 1910. Derek Stanford records that Fry "retained deep and powerful impressions of his father. The faith and personality of his parent... constituted a kind of subconscious ideal." Stanford suggests that Cuthman's recollections of his father in The Boy with a Cart reflect Fry's own filial emotions, and that the "missionary urgency" of some of Fry's plays is related to this early influence.
Load more

Recommended publications
  • Lavender Hill "Serious Competition for 'GUYS AND
    On Wifely Constancy The Passing Show Miss Cornell Poetic Speaks Playwrights Of Those She Go on Plays Right Writing Star of Maugham Revival Sees Lesson in Classic Hits Way Is Hard and Rewards Fewer, By Mark Barron But, Like Anouilh, They Work On NEW YORK. [sake, just because it was a great A veteran from in the * By Jay Carmody trouper coast play past. to coast, Miss Katharine Cornell “It is just as Maugham writes The is that so sensitive surprise many humans go on writing in ‘The Constant Wife’ when I for the theater. was still traveling the other eve- am fighting to hold my husband The insensitive ones, no. are ning after her They gamblers, betting that their Broadway premiere from a beautiful blond who is al- literal reports on life or their broad jokes about will catch the it, in W. Somerset Maugham’s artful most stealing him from me.’’ she public fancy and make them rich. They know the odds and the comedy, "The Constant Wife.” said. consequences involved in failure and nature armed them with the This “As the wife in Maugham’s toughness to both. These are time, however, Miss Cor- play, accept the addicts and there is I am faced with nell took only a hop-skip-and- the realization little need to give them a second thought. that Jump from National every marriage needs a great It is different with the other, smaller group. They are crea- Broadway’s Theater to her deal more thought than most tive, artistic and idealistic. They write plays because they want long-established home on Manhattan’s East wives devote to it.
    [Show full text]
  • 113 Winter 2004
    ISSN 1478-0186 1 The Charles Williams Society www.geocities.com/charles_wms_soc Newsletter The Charles Williams Society Newsletter No. 113 Winter 2004 2 THE SOCIETY The Charles Williams Society The Society was founded in 1975, thirty years after Charles Williams’s sudden death at the end of the Second World War. It exists to celebrate Charles Wil- liams and to provide a forum for the exchange of views and information about his life and work. Members of the Society receive a quarterly newsletter and may attend the Society’s meetings which are held three times a year. Facilities for members also include a postal lending library and a reference library housed at The Centre for Medieval Studies in Oxford. Officers of the Society President: John Heath-Stubbs OBE Chairman: Librarian: Mrs Eileen Mable Dr Brian Horne 28 Wroxham Way Flat 8, 65 Cadogan Gardens Harpenden London, SW3 2RA Herts, AL5 4PP 020 7581 9917 01582 713641 [email protected] Secretary: Membership Secretary: Revd Dr Richard Sturch Mr Guy Carter 35 Broomfield 67B Ulverston Road Stacey Bushes Walthamstow Milton Keynes MK12 6HA London, E17 4NB 01908 316779 020 8523 3465 [email protected] [email protected] Treasurer: Newsletter Editor: Mr Stephen Barber Mr Edward Gauntlett Greystones 21 Downsway, Lawton Avenue, Carterton Whyteleafe Oxon OX18 3JY Surrey, CR3 0EW 01993 841219 020 8660 1402 [email protected] ste- [email protected] Winter 2004 THE NEWSLETTER 3 Contents Newsletter No. 113 Winter 2004 Officers of the Society 2 Reading Groups 3 From the Editor 4 Society News & Notes 5 Forthcoming Meetings 6 Council Meeting 7 Questionnaire Summary 8 The Future of the Society 9 Waiting for Conflict: A Creative Response to the Experience of War Michael Hampel 11 Book Reviews 23 Letters 26 Editorial Policy and Copyright 27 Reading groups For information about the Oxford reading group please contact Brenda Boughton, tel: 01865 515589.
    [Show full text]
  • Theatre Archive Project Archive
    University of Sheffield Library. Special Collections and Archives Ref: MS 349 Title: Theatre Archive Project: Archive Scope: A collection of interviews on CD-ROM with those visiting or working in the theatre between 1945 and 1968, created by the Theatre Archive Project (British Library and De Montfort University); also copies of some correspondence Dates: 1958-2008 Level: Fonds Extent: 3 boxes Name of creator: Theatre Archive Project Administrative / biographical history: Beginning in 2003, the Theatre Archive Project is a major reinvestigation of British theatre history between 1945 and 1968, from the perspectives of both the members of the audience and those working in the theatre at the time. It encompasses both the post-war theatre archives held by the British Library, and also their post-1968 scripts collection. In addition, many oral history interviews have been carried out with visitors and theatre practitioners. The Project began at the University of Sheffield and later transferred to De Montfort University. The archive at Sheffield contains 170 CD-ROMs of interviews with theatre workers and audience members, including Glenda Jackson, Brian Rix, Susan Engel and Michael Frayn. There is also a collection of copies of correspondence between Gyorgy Lengyel and Michel and Suria Saint Denis, and between Gyorgy Lengyel and Sir John Gielgud, dating from 1958 to 1999. Related collections: De Montfort University Library Source: Deposited by Theatre Archive Project staff, 2005-2009 System of arrangement: As received Subjects: Theatre Conditions of access: Available to all researchers, by appointment Restrictions: None Copyright: According to document Finding aids: Listed MS 349 THEATRE ARCHIVE PROJECT: ARCHIVE 349/1 Interviews on CD-ROM (Alphabetical listing) Interviewee Abstract Interviewer Date of Interview Disc no.
    [Show full text]
  • Select Bibliography
    Select Bibliography by the late F. Seymour-Smith Reference books and other standard sources of literary information; with a selection of national historical and critical surveys, excluding monographs on individual authors (other than series) and anthologies. Imprint: the place of publication other than London is stated, followed by the date of the last edition traced up to 1984. OUP- Oxford University Press, and includes depart­ mental Oxford imprints such as Clarendon Press and the London OUP. But Oxford books originating outside Britain, e.g. Australia, New York, are so indicated. CUP - Cambridge University Press. General and European (An enlarged and updated edition of Lexicon tkr WeltliU!-atur im 20 ]ahrhuntkrt. Infra.), rev. 1981. Baker, Ernest A: A Guilk to the B6st Fiction. Ford, Ford Madox: The March of LiU!-ature. Routledge, 1932, rev. 1940. Allen and Unwin, 1939. Beer, Johannes: Dn Romanfohrn. 14 vols. Frauwallner, E. and others (eds): Die Welt Stuttgart, Anton Hiersemann, 1950-69. LiU!-alur. 3 vols. Vienna, 1951-4. Supplement Benet, William Rose: The R6athr's Encyc/opludia. (A· F), 1968. Harrap, 1955. Freedman, Ralph: The Lyrical Novel: studies in Bompiani, Valentino: Di.cionario letU!-ario Hnmann Hesse, Andrl Gilk and Virginia Woolf Bompiani dille opn-e 6 tUi personaggi di tutti i Princeton; OUP, 1963. tnnpi 6 di tutu le let16ratur6. 9 vols (including Grigson, Geoffrey (ed.): The Concise Encyclopadia index vol.). Milan, Bompiani, 1947-50. Ap­ of Motkm World LiU!-ature. Hutchinson, 1970. pendic6. 2 vols. 1964-6. Hargreaves-Mawdsley, W .N .: Everyman's Dic­ Chambn's Biographical Dictionary. Chambers, tionary of European WriU!-s.
    [Show full text]
  • Ring Round the Moon Is Often Considered an Adaptation Rather Than a Translation
    Jean Anouilh was born on June 23 rd , 1910, in Jean Anouilh the small village of Cérisole, France to parents of Basque heritage. His father was a tailor and his mother, a violinist. Anouilh became interested in drama at a young age and began his playwriting career at the age of 12. Anouilh received his secondary education at the Collège Chaptal and later enrolled as a law student in the University of Paris, only to Jean Anouilh abandon the course after just eighteen months when he found employment in the advertising industry. It was in advertising, through drafting copy, that Anouilh discovered the importance of the brevity and precision of language; he put the discovery to use when, at 25, he chose to devote himself entirely to writing. In addition to many successful plays, he also wrote ballets and translated and adapted works from such authors as Shakespeare and Oscar Wilde. Many of his works deal with moral choices and the limitations imposed upon his characters. Anouilh's work reflects the classical theatre of Molière in its comic portrayal of human folly and misery and the experimental theatre of Pirandello in its overt use of theatrical devices to explore the nature of reality and illusion. A note on “adaptation” and “translation” A Charade with Music Ring Round the Moon is often considered an adaptation rather than a translation . When Christopher Fry adapted it for Peter Brooks’ 1950 Adapted by Christopher Fry London production, he made several changes to the script. Fry softened some of the edges of the original, for example cutting out all Anouilh’s allusions to anti-Semitism, and also pushed the A Playgoer’s Guide comedy up a notch, both in language and action.
    [Show full text]
  • STMBOLISM M MODERN ENGLISH DRAMA
    fcrj iU ^ !S. STMBOLISM m MODERN ENGLISH DRAMA BY KATHARINE J. WORTH, M,A. ( BEDFORD COLLEGE, UNIVERSITY OP LONDON ) P k 4. ProQuest Number: 10097991 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10097991 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Foreword. The title 'Symhollsm in Modem English Drama’ may appear somewhat misleading in view of the scope of this thesis. It has "been preferred, for the sake of neatness, to the clumsier, ’Symbolism in Drama written in the English Language’, which would in fact he a more accurate description since it includes the Irish and American contribution. A considerable proportion of this study has been devoted to the work of Ibsen, Strindberg and Maeterlinck, since nearly all subsequent developments must be referred back to them either by way of comparison or contrast. Quotations from Maeterlinck’s work are given in the original, those from other foreign drama in the standard translation. Dates of plays are those of the works’ first appearance, whether in production or publication: when relevant, attention has been called to any marked discrepancy between dates of writing and production or publication.
    [Show full text]
  • Historical Theater Programs Collection MS-87 Wright State
    Historical Theater Programs Collection (MS-87) Guide This finding aid was produced using ArchivesSpace on September 21, 2021. Description is written in: English. Describing Archives: A Content Standard Wright State University Libraries, Special Collections and Archives Special Collections and Archives 3640 Colonel Glenn Hwy Dayton, OH 45435-0001 [email protected] URL: http://www.libraries.wright.edu/special Historical Theater Programs Collection (MS-87) Guide Table of Contents Summary Information .................................................................................................................. 3 Scope and Contents ...................................................................................................................... 3 Arrangement ............................................................... .................................................................. 3 Administrative Information .......................................................................................................... 4 Collection Inventory ............................................................... ...................................................... 4 Series 1: Plays and Musicals ............................................................... ....................................... 4 Series 2: Animal Shows & Races ............................................................................................. 29 Series 3: Concerts ............................................................... .....................................................
    [Show full text]
  • Nonprofessionalized Theatre in Canada's Professional
    Un/Disciplined Performance: Nonprofessionalized Theatre in Canada’s Professional Era by Robin Charles Whittaker A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Centre for Study of Drama University of Toronto © Copyright Robin Charles Whittaker 2010 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-97257-1 Our file Notre référence ISBN: 978-0-494-97257-1 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation.
    [Show full text]
  • Printed Books, Maps & Autographs (MAY20) Lot
    Printed Books, Maps & Autographs (MAY20) Thu, 28th May 2020 Viewing: Restricted viewing by appointment only from Friday 15 May until Tuesday 26 May (excluding Bank Holiday Monday 25 May). Click here for details. Lot 628 Estimate: £150 - £200 + Fees British Actors. A collection of signed theatre programmes and photos British Actors. A group of approximately 55 signed programmes for the New Theatre, Oxford, 1930s & 1940s, mostly multi-signed by several of the cast on upper wrapper or the cast list, signatures include Richard Burton, John Gielgud, Claire Bloom (together in Christopher Fry’s The Lady’s Not for Burning, 1949, with a loosely inserted autograph letter signed from the playwright to Mr Frewer), Kathleen Harrison, Patricia Burke, Trevor Howard, Bernard Miles, Roger Livesey, Sybil Thorndike Celia Johnson, Nicholas Parsons, John Gielgud, Leslie Banks, Robert Morley, Ivor Novello, Beatrice Lillie, Zena Dare, Phyllis Dare, Michael Redgrave, Lilli Palmer, Marie Tempest, Owen Nares, Robertson Hare, Rex Harrison (pencil), Robert Donat, Ronald Squire, Laurence Olivier, Ralph Richardson, Eric Portman, Violet Vanburgh, et al., some related letters, photographs and flyers loosely inserted including several with signatures, original printed wrappers, some staples slightly rusted, slim 8vo, together with a group of approximately 70 mostly smaller format photographs and real photo publicity postcards of music hall and theatre entertainers, many with printed or ink signatures, ink signers include Anita Martell, David Ziekins, Billy Kent, Gene Darham, Stella Carol, Jack Jackson, Peggy Cohrane, Charles D. Smart, Dennis Lawes, Joan Winters, Arthur Schnabel (signature), etc. Qty: approx. 120.
    [Show full text]
  • Four Original Plays
    Oe'f- lllpv'. l'fJ .S ~e ;>.S.~ X X f/1;.1 l 1 @ PRODUCTION STAFF Technical Direction by Robert Vogelsang THE Costumes by Hedwig Billaber UNIVERSITY STAGE MANAGER . NORMAN DAVISON LIGHTING CHARLES FORESMAN OF COSTUMES. GERALDINE CHAR, JANE SUGIYAMA, ANN TOGAWA, GLADYS TSUKAMOTO HAWAII PROPERTIES . MiSAO TOKUHISA, LEORA KOIKE THEATRE BUSINESS WALLACE AKIYAMA; assisted by ELAJNE WoN PUBLICITY. MAYBELLE NAKAMURA GROUP HEAD USHER WALTER YouNG PROMPTERS AMY MUNECHIKA, JEAN TAKAHASHI, SHIRLEY TONG, HELEN TOPHAM THIS GROUP HAS BEEN ASSISTED BY: Nancy Arakaki, Richard Chong, Dixon Ince, Robert Lum, James Misbima, Warren Monaghan, Edmund Poons, Charles Sonoda, Roy Uejio; and by the classes in Dramatic Production (Dr:tma 150) :md Theatre Practice (Drama 200). THEATRE GROUP COUNCIL Wallace Akiyama Norman Davison Misao Tokuhisa FOUR ORIGINAL PLAYS Hedwig Billaber Charles Foresman Joan Waite Sheila Cruickshank Maybelle Nakamura Walter Young The Ram Russell Sowers Situation: Desperate Lazy Man Lucie Bentley, Earle Ernst, and Joel Trapido (Directors) Where the Love Tree Grows The Theatre Group wishes to acknowledge the assistance of others, including both students and members of the faculty and administration, who have helped make this production possible. The Malo-Maker THE THEATRE GROUP SEASON As noted above, Four Original Plays will be followed early in December by a faculty production of Christopher Fry's The Lady's 1101 for Buming. According to present plans, the Group's third production will be Eugene O'Neill's only comedy, Ah, 11'/i/demess !, scheduled for February. This will be followed in early April by a combined production, with the Music Department, of Gian-Carlo Menotti's short opera Amah/ aud 1he Nigh1 Visilors.
    [Show full text]
  • Walterdale Theatre Associates Archive Listing of Plays
    Walterdale Theatre Associates Archive Listing of Plays Season 1 (1958-1960) Lady Audley’s Secret o By Mary Elizabeth Braddon; Adapted by C.H. Hazelwood o Directed by Jack McCreath Out of the Frying Pan o Original Musical, Book by Frances Swan o Directed by Jack McCreath Light Up the Sky o By Moss Hart o Directed by Jack McCreath Teahouse of the August Moon o By John Patrick o Directed by Jack McCreath The Reluctant Debutante o By William Douglas Home o Directed by Frank Glenfield Season 2 (1960-1961) My Sister Eileen o By Joseph A. Fields & Jerome Chodorov o Directed by Jack McCreath Man of Destiny o By George Bernard Shaw o Reading only Venus Observed o By Christopher Fry o Reading only Dial ‘M’ for Murder o By Frederick Knott o Directed by Marjorie Knowler The Boy Friend o By Sandy Wilson o Directed by Jack McCreath Ten Little Indians o By Agatha Christie o Directed by Bob Hedley Season 3 (1961-1962) Don Juan in Hell o By George Bernard Shaw o Reading directed by Jack McCreath Epitaph for George Dillon o By John Osborne & Anthony Creighton o Directed by Marjorie Knowler Don Juan in Hell o By George Bernard Shaw o Directed by Jack McCreath Boy With a Cart *Is This a Friendly Visit? o By George Bernard Shaw o Directed by Mary Baldridge Page 1 of 34 Walterdale Theatre Associates Archive Listing of Plays Romanoff and Juliet o By Peter Ustinov o Directed by Frank Glenfield See How They Run o By Phillip King o Directed by Jack McCreath House of Bernarda Alba o By Frederica Garcia Lorca o Directed by Michael Posca Season 4 (1962-1963) Barranca o By Jack McCreath o Directed by Jack McCreath One-Act Festival (Adjudicator - Walter Kaasa) o Passion, Poison and Petrification .
    [Show full text]
  • Download 2012–2013 Catalogue of New Plays
    Cover Spread 1213.ai 7/24/2012 12:18:11 PM Inside Cover Spread 1213.ai 7/24/2012 12:14:50 PM NEW CATALOGUE 12-13.qxd 7/25/2012 10:25 AM Page 1 Catalogue of New Plays 2012–2013 © 2012 Dramatists Play Service, Inc. Dramatists Play Service, Inc. A Letter from the President Fall 2012 Dear Subscriber, This year we are pleased to add over 85 works to our Catalogue, including both full length and short plays, from our new and established authors. We were particularly fortunate with nominations and awards that our authors won this year. Quiara Alegría Hudes won the Pulitzer Prize with WATER BY THE SPOONFUL, and the two runners-up were John Robin Baitz’s OTHER DESERT CITIES and Stephen Karam’s SONS OF THE PROPHET. The Play Service also represents three of the four 2012 Tony nominees for Best Play, including the winner, Bruce Norris’ CLYBOURNE PARK, Jon Robin Baitz’s OTHER DESERT CITIES and David Ives’ VENUS IN FUR. All four of the Tony nominations for Best Revival are represented by the Play Service: DEATH OF A SALESMAN (the winner), THE BEST MAN, MASTER CLASS and WIT. Other new titles include Rajiv Joseph’s BENGAL TIGER AT THE BAGHDAD ZOO, David Henry Hwang’s CHINGLISH, Katori Hall’s THE MOUNTAINTOP, Nina Raines’ TRIBES and Paul Weitz’s LONELY, I’M NOT. Newcomers to our Catalogue include Simon Levy, whose masterful adaptation of THE GREAT GATSBY is the only stage version to be authorized by the Fitzgerald Estate; Erika Sheffer, with her vivid portrait of an immigrant family in RUSSIAN TRANSPORT; Sarah Treem, with her absorbing and thought-provoking THE HOW AND THE WHY; and Tarell Alvin McCraney, with the three plays of his critically acclaimed BROTHER/SISTER TRILOGY.
    [Show full text]