Read e-book online After Miss Julie PDF

By Patrick Marber

ISBN-10: 0822224399

ISBN-13: 9780822224396

A brand new model of a global vintage through certainly one of Britain's best-known modern playwrights. After pass over Julie relocates August Strindberg's leave out Julie (1888) to an English kingdom condominium in July 1945. during this radical re-imagining of theatre's first "naturalistic tragedy" the occasions of Strindberg's unique are transposed to the evening of the British Labour Party's "landslide" election victory.

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Example text

I had, however, brought into the mix another unsung hero of Portable: Gus Hope. She became our unpaid administrator, and from her tiny flat off Charlotte Street she ran our office, housed the mighty Olympia typewriter (it was almost as big as the van) and kept our files under her bed. She sent off our press releases to schools, army camps, universities – anywhere – and amazingly, thanks to her industry, we got bookings, to the extent that David had to mount a revival of Inside Out with a different cast in January 1969.

He had, in effect, ‘sold out’. Ironically, this was a charge that had been levelled before, in the 1970s, when (with the exception of McGrath) all the playwrights mentioned above, including Hare, had to a greater or lesser extent moved away from their roots in the practices and politics of the radical Fringe to occupy mainstream stages. Critics have always seen in Hare the figure of a soft middle-class liberal, compromised by how he has chosen to position himself politically within the theatre, and indeed within public life generally (he is, after all, Sir David Hare, knighted for services to theatre in 1998, Lancing- and Cambridge-educated, Fellow of the Royal Society of Literature, occasional media commentator, husband to a leading fashion designer and sometime banquet guest at Buckingham Palace); from this point of view, ‘Let’s hear it for the guys who keep turning up’ sounds at best the faintest of political rallying cries and at worst a wheedling justification of the status quo.

Indeed, it is notable that Hare’s own comments on the creation of Portable do no more than imply a political dimension to what was conceived of as a wider engagement with culture – including the theatre – and society generally: What we had in common was that we thought we were living through a period of extreme decadence, both socially and theatrically. 6 This is not to suggest that Hare was disengaged from contemporary politics: far from it. He shared with many of his generation anger at, and frustration with, the failure of the Wilsonian socialism of the 1960s to deliver on its promises.

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After Miss Julie by Patrick Marber

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