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Propaganda Theatre : a Critical and Cultural Examination of the Work Of ANGLIA RUSKIN UNIVERSITY PROPAGANDA THEATRE: A CRITICAL AND CULTURAL EXAMINATION OF THE WORK OF MORAL RE-ARMAMENT AT THE WESTMINSTER THEATRE, LONDON. PAMELA GEORGINA JENNER A thesis in partial fulfilment of the requirements of Anglia Ruskin University for the degree of PhD Submitted: June 2016 i Acknowledgements I am grateful to Anglia Ruskin University (ARU) for awarding me a three-year bursary in order to research this PhD. My thanks also go to my supervisory team: first supervisor Dr Susan Wilson, second supervisor Dr Nigel Ward, third supervisor Dr Jonathan Davis, fourth supervisor Dr Aldo Zammit-Baldo and also to IT advisor at ARU, Peter Carlton. I am indebted to Initiatives of Change for permission to access and publish material from its archives and in particular to contributions from IofC supporters including Hilary Belden, Dr Philip Boobbyer, Christine Channer, Fiona Daukes, Anne Evans, Chris Evans, David Hassell, Kay Hassell, Michael Henderson Stanley Kiaer, David Locke, Elizabeth Locke, John Locke; also to the late Louis Fleming and Hugh Steadman Williams. Without their enthusiasm and unfailing support this thesis could not have been written. I would also like to thank my family, Daniel, Moses and Richard Brett and Sanjukta Ghosh for their ongoing support. ii ANGLIA RUSKIN UNIVERSITY ABSTRACT FACULTY OF ARTS, LAW AND SOCIAL SCIENCES DOCTOR OF PHILOSOPHY PROPAGANDA THEATRE: A CRITICAL AND CULTURAL EXAMINATION OF THE WORK OF MORAL RE-ARMAMENT AT THE WESTMINSTER THEATRE, LONDON PAMELA GEORGINA JENNER JUNE 2016 This thesis investigates the rise and fall of the propagandist theatre of Moral Re-Armament (MRA), which owned the Westminster Theatre in London, from 1946 to 1997. MRA operated a unique theatre movement which was initially extremely successful in taking a stand against the avant-garde drama of the twentieth century. Its own controversial plays promoted an ideology of living by four absolute moral standards: honesty, purity, unselfishness and love. My research explores the way in which MRA sought to change society through drama and investigates the reasons for the eventual demise of the Westminster Theatre operation. Because MRA theatre has not featured in secondary criticism on twentieth- century British drama, my information has been gathered from MRA archives, interviews with key figures associated with the movement and a performance in London of one of its political plays. My thesis fills a gap in the history of twentieth century British theatre, which so far has not acknowledged MRA’s contribution. Initially the Westminster Theatre, which was administered entirely by volunteers, was a huge success, attracting a working class audience and even helping to resolve industrial disputes. However, the movement was unable to adapt to the cultural revolution of the 1960s. Its plays became less relevant and therefore less effective and the costs of maintaining a London theatre began to soar. The final production at the Westminster in 1990 of Vaclav Havel’s Temptation was boycotted by many MRA members and proved to be a moral and financial disaster that led to the closure of the theatre. Although MRA theatre was ultimately not sustainable, it achieved much during its fifty year existence. It delivered plays that not only promoted its ideology but dealt with controversial issues in a way that the conservative middle and upper classes could understand and gave them a voice that left-wing and experimental theatre did not. However, for propaganda to be successful it must speak the language of the people it is trying to convert. This thesis concludes that MRA theatre failed to advance beyond its post-war ideology and, as a result, its plans for a new society were doomed to failure. Key words: Moral Re-Armament, propaganda, theatre, ideology iii Table of Contents Chapters Introduction..................................................................................................................................... 1 Chapter One: The Origins of Moral Re-Armament and its Theatre Movement ...................... 12 Chapter Two: MRA Propaganda Theatre – Success and Failure ............................................. 35 Chapter Three: Peter Howard – the Propagandist Playwright................................................... 65 Chapter Four: The Westminster Fights the Avant-Garde .......................................................... 96 Chapter Five: MRA Theatre for Children................................................................................. 128 Chapter Six: A Step Too Far – Temptation Puts an End to a New Beginning ....................... 156 Conclusion .................................................................................................................................. 186 Bibliography .......................................................................................................................... 200 iv Illustrations Figure 1: Searchlights at MRA rally, Hollywood Bowl, California in 1939. Source: Arthur Strong/MRA Productions............................................................................................................. 25 Figure 2: Dedication of the Westminster Theatre on Remembrance Sunday in 1946. Source: Kay Hassell ..................................................................................................................... 28 Figure 3: The Forgotten Factor performance in Staffordshire 1947. Source: Robin Evans .. 42 Figure 4: Cast of The Forgotten Factor, Warwickshire coalfield, 1948. Source: Robin Evans ............................................................................................................................................. 42 Figure 5: 1963 production of The Diplomats. Source: MRA Publications ............................. 51 Figure 6: Bob helps Sir Malcolm through a window in 2013 production of The Diplomats. Source: author’s own.................................................................................................................... 53 Figure 7: De Grossac greets Irene in 2013 production of The Diplomats. Source: author’s own ................................................................................................................................................ 54 Figure 8: Mrs Trumper delivers tea in 2013 production of The Diplomats. Source: author’s own ................................................................................................................................................ 57 Figure 9: Review of 2013 production of The Diplomats. Source: Friends of Renewal Arts . 64 Figure 10: Graph of audience reaction to 2013 production of The Diplomats. Source: author’s own ................................................................................................................................. 64 Figure 11: Peter Howard the Writer. Source: MRA Publications ............................................ 74 Figure 12: Peter Howard the Farmer. Source: MRA Publications........................................... 77 Figure 13: Peter Howard the Family Man. Source: MRA Publications .................................. 78 Figure 14: Audience at Westminster Theatre mid-1960s. Source: MRA Publications .......... 93 Figure 15: Architect Model of Arts Centre. Source: MRA Publications .............................. 111 Figure 16: Rajmohan Gandhi opens Arts Centre 1966. Source: MRA Publications ............ 114 Figure 17: Audience at Give a Dog a Bone. Source: MRA Publications .............................. 130 Figure 18: Poster for Give a Dog a Bone. Source: MRA Publications ................................ 132 Figure 19: Audience at Give a Dog a Bone. Source: MRA Publications. ............................. 133 Figure 20: Pupils at Day of London Theatre. Source: MRA Publications ............................ 140 Figure 21: Hugh Steadman Williams. Source: Hugh Steadman Williams ............................ 157 Figure 22: John Locke. Source: MRA Publications ............................................................... 160 Figure 23: Rula Lenska in ‘tempting’ pose. Source: Evening Standard ............................... 172 Figure 24: Rula’s ‘Naked Truth’ according to Lee-Potter. Source: Daily Mail.................... 174 v Appendices Appendix One: Hilary Belden, interview. ................................................................................ 218 Appendix Two: Peggy Buckman email..................................................................................... 221 Appendix Three: Christine Channer interview......................................................................... 223 Appendix Four: Fiona Daukes email. ....................................................................................... 225 Appendix Five: Kathleen Dodds, interview ............................................................................. 226 Appendix Six: Chris Evans, interview. ..................................................................................... 227 Appendix Seven: Robin Evans, interview ................................................................................ 228 Appendix Eight: Louis Fleming, interview. ............................................................................. 229 Appendix Nine: David Hassell, interview ................................................................................ 232 Appendix Ten: Kay Hassell, email. ........................................................................................... 233 Appendix Eleven: Jill Hazell, interview ..................................................................................
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