Sugared and Spiced the Play: An Episodic Play in One Act for Girls
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We have sought to include playwrights who have written a considerable number of one-act plays and whose work has been performed regularly on both professional and amateur stages whether such productions are contemporary or have been in the past stretching back to We have not included plays which never appear to have been performed in public or never intended for stage performance.
A key consideration for inclusion was whether or not the playwright had a significant number of one-act plays published. Though many one-act plays may not be currently in print and indeed the publisher may no longer exist in many cases, it is possible to obtain copies of these plays, by paying a fee to the present copyright holder, if you can locate them. Usually, a single copy of the script will then be sent and permission given for photo-copies to be made. We have indicated in Appendix 3 which firms have been subsumed by others in the course of time.
We have also included, exceptionally, biographies of authors who may have only written a single one-act play, if we believe the play to have been an interesting or significant contribution to the genre. Other single plays are listed in a separate section beyond the biographies. Plays mentioned in the text are dated where possible; the date given is as far as can be ascertained the date of first public performance.
Publication of the play may have been in the same year or, perhaps a year or two later in most cases. This final list is not necessarily an exhaustive one; in some cases, there are simply far too many plays to list. In the final line we list the principal original publishers of the plays. In some cases, we have included a writer whose career or plays or both are representative of a particular set of circumstances e. Inevitably, our choices must bear elements of subjectivity, and are related to the extent of our researches and experience.
We hope that there are no notable omissions but also that readers will be surprised and heartened by the extent of what is available in this genre. We do not mean to imply inferiority to those whose work may not be noted here, and, with the help of readers, hope to expand this list in subsequent editions a note about adapting scripts from other media Though theatre was the dominant medium for drama at the beginning of the 20th century, the related media of film, radio and television developed as the century progressed.
Writers, who would have thought only of producing plays for the stage in , thus had increasing opportunities for their work to be produced in other contexts. Radio drama flourished both in Britain and the USA in the inter-war period, and remains today, in the UK at any rate, a major source of short plays. The tradition continues today through series such as Afternoon Theatre.
More recently, there has also been the practice of reproducing scripts from situation-comedies or drama series in print. Many of these scripts are of pieces which range from 30 to 60 minutes in length, and with a little imagination and enterprise they can be transformed into the stage one-act form. They represent an important extra resource for potential directors and performers of short plays on the stage. The difference in origin may mean that adaptation and simplification of setting needs to be made, and this must be negotiated with the copyright holders, but the potential of this growing resource of material is high and may itself not only re-invigorate work by stage playwrights but also bring new audiences to the theatre.
The Zoo Story, which won awards when first produced in America, is still successfully making demands on audiences — and the two actors! As such, it as relevant today, decades after its first performance. It has been said that if it is possible to categorise Albee, he might fit into a school of Anti-Complacency.
With his sharp hard-edged dialogue, he has continued to challenge audiences on both sides of the Atlantic. Most interesting of these is The Road to Northborough, which deals poignantly with episodes in the life of the family of the peasant poet, John Clare. Shindig , by contrast, has a contemporary setting and explores some of the darker sides of the office party.
If a drama company is looking for a large cast play then Death , with a cast of over 20, is an extraordinary screwball madcap black comedy with element of nightmare and melodrama.
Guide Sugared and Spiced the Play: An Episodic Play in One Act for Girls
Beneath the almost comic-strip humour there is an allegorical undercurrent reflecting the authors view of death. A companion piece, the farcical God , has an even larger cast. More recent work includes three short plays collected in one volume — Riverside Drive, Old Saybrook and Central Park West — all set in and around New York where unexpected things happen to an innocent man from that city — the archetypal Woody Allen character. Publishers: Samuel French; Random House Jean Anouilh — French dramatist Jean Anouilh was the prominent French playwright of the midth century, but in recent years his work, which some critics have deemed lightweight, has declined in popularity.
There are great opportunities here for full-blooded performances from the largely female cast. He wrote a stream of full-length plays, musicals with Eric Nash as composer and revues but was, perhaps, at his best in the one-act form. He often entered more than one original play in local drama festivals in north London, and his entries would almost invariably be in deliberately contrasting moods and styles.
He won scores of awards in the years either side of World War II, as he skilfully tailored the demands of the parts he wrote to members of his group. His dramatic style was mostly naturalistic often using topical events as a focus but he also wrote delightful comedy fantasies. One of his festival-winning oneacters, Shadows Quietly Waiting a tense drama about an escaped mental patient and his visit to an isolated farm was exhumed, revised and published for the first time in the s.
His work is a good example of an unpublished oeuvre of fine one-act plays which were written for a particular company, but which deserve wider knowledge and performance. Theatre companies, both professional and amateur, may, with a little research, be able to unearth and use similar work in their own district. Publishers: Deane; Cambridge Publishing Services Geraldine Aron — Irish dramatist Geraldine Aron has spent 15 years in central and southern Africa, but she was born in Galway and most of her plays reflect that Irish background.
Now Londonbased, she also writes for television and radio. It makes a powerful and demanding play with three strong and contrasting roles for the actors.
Geraldine Aron writes about close relationships. In Bar and Ger she focuses on the developing relationship over several years between a young girl and her newly-born brother. In the tragi-comedy A Galway Girl , a married couple reminisce about their life together until death looms for one of them. The couple in The Stanley Parkers are middle-aged and gay, and here, as in the other plays, their story is told with warmth and compassion. Interestingly the script of The Stanley Parkers is written in blank verse with each actor speaking directly to the audience.
His father whom at one time he thought dead was away in his youth, fighting in the Spanish Civil War and his first one-acter, Picnic on the Battlefield , is a powerful pacifist plea, its title selfexplanatory of its theme. It is his best-known short play in English and an occasional festival choice by teams who are searching beyond the mainstream. Guernica echoes the same theme as an old Basque couple descend into stranger and stranger behaviour, reflecting the madness that war brings. In this vast output there have been comparatively few oneact scripts; however his quintet of loosely-linked plays under the title Confusions has regularly appeared on the menu of drama festivals for decades.
In the final piece, A Talk in the Park, five lonely people try to communicate only to be met with complete disinterest. This sense of loneliness, a need to form relationships, runs beneath the comedy of all the plays. They are deceptively difficult both for directors and for actors, who need to give skilled truthful comedy character performances. His major full-length plays, The Madras House and The Voysey Inheritance, have been revived by the National Theatre, but his three one-acters are much less well known.
Vote by Ballot is about an MP who loses his seat at an election by one vote — the vote of his best friend, whom he had assumed was a political supporter. It raises some political themes which have modern resonances, despite its origins. He often wrote about nightmare visions of historical moments.
The author has said that he has always wanted to write roller-coaster drama of hairpin bends, a drama of expertise and ecstasy balanced on a tightrope between comedy and tragedy — which he achieved in Noonday Demons which veers from pained soliloquy to slapstick and song. In lighter mood he wrote new versions of outrageous comedies: The Purging by Feydeau and the The Singer by Wedekind which played together under the umbrella title The Frontiers of Farce at the Old Vic.
Peter Barnes wrote extensively for radio including a whole series of trenchant monologues which took the title Barnes People. His themes and styles are wide-ranging, for instance The Big Cats , which focuses on an old lady facing the demolition of her home, is told with a sensitive charm while Asylum , set in a German sanatorium in , is a powerful exploration of suppressed memory. Chimera is a thoughtful three-hander for women, while The Push is a delightful comedy concerning money and marriage.
He was a thoroughly competent dramatist who worked in both the full-length and the one-act field, and some of his short plays show a mastery of the form which makes them playable and watchable nearly a hundred years after they were written. In the National Festival of Community Drama of —, out of one-act plays entered, 46 were productions of Barrie plays, more than by any other single dramatist.
One of his best known one-act plays and still often found as part of a doublebill in the touring professional repertory is The Twelve-Pound Look , a well-structured piece in a which a prosperous and pompous politician renews his acquaintance with his former wife, when she comes to his house from a secretarial agency to type his letters for him. As the curtain falls, the second wife is found musing about where to get the money for a typewriter. In The Old Lady Shows her Medals an impostor is provoked to act out the role of a son to an old lady who wishes she had a son in the Great War. The pair develop a touching though temporary friendship.
Shall We Join the Ladies? They are all suspects to a previous murder, all have secrets and expect one of their number to be poisoned. Many of his plays are written for all-women companies. Head of the House deals with the strict regime of Amelia over her spinster sisters in a country house; Playback features a mysterious visitor whose motives are unclear — he may have lost his memory, or is it something more?
Murder at Eight is a thriller set in a farmhouse kitchen. Two of his mixed-cast plays have theatrical contexts. Decline and Fall is centred around the proposed demolition of an old theatre which is saved at the last moment by a visit from a former actress. It transpires she has become the wife of the chairman of the firm who plan re-development.
Stage Door Murder is based on the true story of the murder of William Terris. Other plays to consider: A Mouse! A Mouse! He wrote some well-known full-length historical pieces notably Rose without a Thorn as well as short-stories, poems, and books on the theory of the theatre. Of his one-act plays, The Cloak , a modern morality play written in rhyming couplets, is perhaps the best known.
Three characters meet at a rocky place; an Angel, the Unborn, and the Dead. The Dead is persuaded to divest himself of a cloak pride? Tragic Nesta is set in 12th-century Wales and is a melodrama in which a son unwittingly slays his father; the powerful play ends with high rhetoric of sorrow. Square Pegs was a two-hander in different style with Hilda, a modern girl, meeting Gioconda a 16th-century Venetian. Of his Twelve Short Plays, a collection published by Gollancz in , all but one were in verse. He became a dramatist writing full-length plays, musicals, pantomimes and youth plays but enjoys particular success with his one-act scripts, his range extending from humour to gritty hard-hitting dramas.
The setting of another of his comedies, Piste Off , is a cramped ski chalet in which two couples are confined as there is no snow. Full of sparky dialogue, Meat and Two Veg begins with light domestic badinage and, taking a route through broad-humoured sexual innuendo, veers toward a black comic conclusion. By contrast, Waiting for Pierrepoint is an in-depth psychological examination into the mind and emotional state of the serial killer John Christie as he faces his hangman, using fact, fiction and mime to makes a theatrical impact.
Another powerful drama is Death of a Clown which has two estranged brothers fighting over the future of their family circus. Shadows in Red is a musical drama while Rose Tinted Glasses is a play for young actors. Other plays to consider all comedies : Come the Resolution; A Pain in the Neck; Strangeways; Swingers; Up the Garden Path Publishers: Samuel French; New Theatre Publications Samuel Beckett — Irish writer and dramatist Beckett is unquestionably one of the great dramatists of the 20th century but his work, even in one-act form, needs tremendous application and study to be performed successfully.
Some of his work for radio and television has been adventurously performed in the theatre. Some think that the play may represent the dissolution of a single personality in the face of death; others that it is a morality play about the death of a rich man. In Play, three characters speak about an apparently trivial comic story that has lead to three suicides, and then repeat this a second-time round, only faster and softer.
Other solo pieces in play form include Rockaby notably performed by Billie Whitelaw on the professional stage and A Piece of Monologue, also known as Solo. In the one-act field, he has written a notable double-bill of one-act plays which played professionally under the title Single Spies. One of his greatest stage successes in has been a succession of long monologues, which, under the title Talking Heads , are often put together in twos and threes to form an evening of entertainment.
Seen both on television and in the professional theatre, these are pieces of great humanity as well as golden opportunities for good performers to develop a character and hold a stage on their own for 35—45 minutes. That script — as with his The Fall of the House of Usher — can play uninterrupted in the one-act form. Mime, movement, body language, plus imaginative use of sound and light can produce a sense of Total Theatre.
In the Penal Colony is a frightening, black comic moral adaptation of another story by Kafka, while his Agamemnon is a modern look at the great Greek tragedy. Several of his plays have been broadcast on radio or TV and then adapted for the stage. In No Quarter a quiet man and a fat man seek lodging in a mysterious hotel, which collapses around them and renders them totally immobile.
When he arrives their expectations are confounded and they are even more discomforted to find he is blind. In her experienced hands this irons out some of the unevenness of improvisation, whilst retaining its fresh and innovative qualities. Her Bermuda Tangle is a hilarious piece in which a couple of ordinary present-day holiday-makers find themselves mixed up with Sir Walter Raleigh, his cabin boy and Guy Fawkes as they sail unsuspectingly into that mysterious triangle of waters in the Caribbean.
Romeo Loves Juliet — OK? Some of her plays such as Christmas is Cancelled a mock-heroic adventure tale involving the kidnap of Santa Claus are designed for 9—13 year-olds, but most of her plays suit mid-teenage players very well. Publishers: School Play Productions Edward Bond — British dramatist The fame — or some would say the notoriety — of the prominent British dramatist Edward Bond rests largely on his full-length plays, but several of his shorter works are worth seeking out.
Grandma Faust and The Swing are both anti-racist plays, whilst Black Mass is part of the Sharpeville Sequence written at the height of intensity of the apartheid movement in South Africa. Edward Bond has written several plays for young people. Publishers: Methuen Anthony Booth British dramatist Anthony Booth is one of the small group of playwrights who are known chiefly for their one-act plays. His subjects and styles are varied ranging from farces such as This Desirable Cottage and Costa del Packet to powerful plays about human relationships caught in extreme situations.
These plays often afford strong roles for women.
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Set in a city — which might be Belfast — The Trial concerns the harsh interrogation of an informer, while the setting of Deadline Dawn is a Middle Eastern country where tension is heightened among the four women trapped in an attic room. Both these powerful, uncompromising plays are still seen regularly on the festival circuit. But there are several other Anthony Booth plays for women which are worth seeking out.
The Living Hell is set during the Second World War in a steamy jungle hut in the Far East as the Japanese approach, while South America is the location for Quake in which five women are isolated by an earthquake. In all these plays the unseen forces bring out strengths and weaknesses in the characters while the relationships are explored with understanding. He followed these successes with a double bill entitled Little Boxes both plays taking place in contrasting flats in very different parts of London where the inhabitants have withdrawn from mainstream society.
The Coffee Lace is set in seedy Kennington and concerns a sad, poverty-stricken elderly vaudeville troupe who have refused to go out since their performance was ridiculed a decade before. Trevor is set in smart Kensington where a lesbian couple try to hide their relationship from their parents by inveigling an actor to play their boyfriend. John Bowen contributed to Mixed Doubles, the collection of short plays on the marriage theme, with Silver Wedding , which is often staged separately. Which Way are You Facing?
They produced scripts both separately and together from their meeting in the s until their divorce in It concerns a proposed divorce in which the lawyer apparently adjudicating a case turns out to be an interesting player within it. These are as apparent in his short plays, as in his epic pieces. Songs of comment, placards, asides to the audience, open set changes, all emphasise the artificiality of theatre but are designed to highlight and reinforce political messages. A merchant crosses a desert to seek new business in a far-off city and deals badly with both a guide and a carrier in his anxiety to get there first.
The whole play is a commentary on capitalist principles and morals. Just after World War I he wrote mainly one-act plays, whilst drama critic for a daily communist newspaper. He has written Scott of the Antarctic for an ice rink and Wesley for a Methodist chapel. Told in eleven scenes the highly controversial and stimulating Christie in Love takes a unique perspective on the police search for the notorious London serial killer, and is often performed as a one-act piece.
The Education of Skinny Spew is a brash satirical political farce while The Thing is a 30—minute play for young people. First produced at Bradford University, Heads is a surreal farce. From onwards, he wrote many full-length and one-act plays full of a very personal style of humour. He is considered hilarious to some, and arch to others. Brighouse did this successfully in over 15 full-length and 50 one-act plays. One of his first and most famous short plays was Lonesome-like which was set in a working-class cottage.
It concerns a rough-tongued old woman threatened with the workhouse and unable to be helped by the local church.
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Writing in , Brighouse reckoned that it had had over performances by both professional and amateur casts. The Price of Coal was similarly set in a working-class cottage with a young miner seeking an answer to his proposal of marriage before going off to work. News of a pit disaster creates drama, but there is a happy resolution and the young miner returns with no worse than a broken arm, potential tragedy turning to comedy. Brighouse wrote at least a dozen short plays specifically designed for outdoor performance.
These days his plays are best regarded as colourful Northern period pieces, evocative of their time and still exhibiting strong dramatic structure and earthy comedy. Her one-act plays are equally wideranging in theme and setting. One of her most frequently directed plays, A Different Way to Die , is a touching, compelling drama set in Israel five years after the Second World War and concerns the seething emotions and barely suppressed secrets of a female survivor of the concentration camps.
By contrast, Have a Nice Day , set in a studio, looks behind the superficial smiles in the plastic world of modern daytime television. The four women in Failed Investments , described as an adult social comedy, have all had unhappy experiences with men and their resulting conversation could well start heated arguments between the sexes. Death is also an important element in Properly Processed where the deceased main character causes considerable impact in a high-powered unsympathetic planning office. Publishers: Samuel French Rupert Brooke — English poet and dramatist Widely known as an early 20th-century romantic poet who died tragically young, Brooke wrote a single one-act play.
Lithuania in prose , but it is of some historic interest. It deals with the melodramatic story of a peasant family who do not recognise their long-lost son who returns to the family home as a visitor, and who kill him through their own greed. She usually worked on small-scale contemporary themes in everyday life, and some of her comedies such as The Undiscovered You , middle-aged ladies in a beauty and keep-fit class, had real flair. In he published Sweeney Todd, which became the first of a highly-popular series of re-workings of old Victorian melodramas.
Alongside these classic melodramas, he wrote a large number similar one-act scripts which have been frequently used to create double or triple bills and as part of a music hall or evening of Victorian theatre. As with all melodramas, they need to be played with serious fullbloodied relish; played as coarse acting shows they fail. Brian J Burton has written well over 50 plays, ranging from short sketches for women Ladies Only to a full-scale musical version of Little Women, but the majority of his writing has been in the one-act form, including several modern plays such as Murder Play , Sudden Death , and Drink to Me Only The romantic and domestic adventures of the Parpot and Plum families were presented with an elegant sense of fun, and there was also a gentle strain of philosophy and morality intertwined.
The Calf Before the Hearse was the follow-up to this, with a similar mixed cast. The Affairs of Madame Parpot was an allwomen cast continuation of the village themes, and The Parpot Assassination and Operation Parpot also with all-female casts continued to mine the rich vein of comedy centred around a village shop.
Almost any of the Cabrol comedies will still bring audience enjoyment if a company tackles them with a sense of style and an appropriate lightness of touch. There are some forgotten jewels here awaiting re-discovery. Eight of the plays, probably written as curtain-raisers for the professional theatre of the pre era, were collected in one volume and published after his death.
Of these, the best known is The Little Stone House in Chekhovian style , which was premiered by the Stage Society in , but others are of considerable interest. His vast output of over one hundred scripts has long been regular features of drama festivals in the United Kingdom and beyond; indeed it has often been said that no short play festival is complete without at least one Campton play. He has said that he objects to being pigeon-holed. His themes and styles are wide-ranging including the environment in Singing in the Wilderness , married life in Getting and Spending , the conflict between private and public morality in Permission to Cry , prejudice in Incident , old age in Parcel and Resting Place In the anthropomorphic, The Cagebirds , he highlights the denial of many people to escape from their cosy familiar world, while in the similarly allegorical Can You Hear the Music?
In each of these scripts the cast gender is flexible which helps to make them three of his most popular texts. Many devotees of one-act plays are delighted that his turnip plot remains untended. Who Calls? The double bill Cages , comprises the gritty but touching drama Snowangel, and the absurdist Epiphany, a powerful theatrical piece which has distant echoes of Kafka. Both these plays are still frequently performed in his home country and far beyond. Another brace of plays under the title Doubletalk , is made up of The Dirty Old Man, the deeply affecting story of a chance meeting between an aged poet and a virgin, and Sarah and the Sax where the conversation is between an old Jewish lady and a black musician.
The search in High Sign , a five-hander for men, is for personal identity. She wrote distinctive light comedies in witty rhyming couplets and often added in as optional extras a cast of innumerable extras as crowd background. The hand of Julia Queen of Hearts hinges on a line call but the linesperson is found to be asleep at the time. As the argument reaches a climax, Alan, the aviator Ace, lands on the court, having just crossed the Atlantic solo, and sweeps Julia off her feet.
In similar charming style, Willow Woe is Me! This challenging script needs performances of great versatility from the two actors. Seven elderly people reside in the vast Bed dreaming, reflecting on their long past. Originally staged at the National Theatre, this unusual play with a variety of themes is at times harrowing, hilarious, poetic and moving. It was said that he gained as much pleasure from these small comic curtain-raisers as he did from his major works. Several of these plays are still regularly seen on international stages well over a century after their first performances in Russia.
Their structure is made up of clearly defined characters quickly caught up in a complex situation in fast flowing continuous action. The comedy is often broad and there is more than a nod to traditional French farce hence the term vaudeville. This is also the case in his large cast play, The Wedding Before training as a professional actor and later teaching, he spent some time as a member of an amateur company in his native Lancashire.
When he moved to London and became a playwright he wrote many of these short plays for local amateur companies. Several of these plays have been adapted for the radio Many of his most popular scripts include excellent character roles for women. In all these plays the playwright happily combines the human situation with warm understanding and a good humour. These qualities of sadness and comedy are also evident in From Here to The Library , In by the Half , which has a theatrical background, and the wartime reminiscence In Room Five Hundred and Four whose title is based on an evocative popular song of the Second World War.
He demonstrates a different mood in But Yesterday , an enigmatic atmospheric play where the characters and the relationships are more complex. In A Different Way Home , he returns to his Northern roots with two very moving linked monologues. The first delivered by Leslie tells of the events leading to the death of his mother while in the second, his sister, Maureen, reveals the strength of her emotion at her apparent rejection by her family.
It seems likely that the plays of Jimmie Chinn will continue to delight and amuse audiences on radio and, particularly, on stage, as theatre has always been his first love. She also produced a trio of one-act plays which were presented briefly on the professional stage, and which have since been frequently taken up by amateur companies. Afternoon at the Seaside is a dramatised detective story about a theft of a necklace and is set amongst a party of holiday-makers a beach; The Rats is about a group of people tricked into coming to an empty flat and a non-existent party and then framed for murder by one of their number; Patient presents a rather contrived situation in which a women who has fallen off a balcony is left unable to speak or move except through the fingers of one hand.
Through this she indicates that she has been the victim of an attempted murder and then thwarts a second attempt by recovering the power of speech just in time. Publishers: Samuel French Caryl Churchill — English dramatist Churchill has been one of the most influential playwrights of the later 20th century and has experimented with a great many different styles of drama.
She has pioneered a notation in print for the deliberate overlapping of speeches in plays. Not all of them have been given stage performance. Her work often makes a radical critique of society from both socialist and feminist perspectives and it usually calls for a bold and imaginative approach from both directors and performers. Three More Sleepless Nights , was an early one-act attempt which did not please the critics at the time but which has proved popular since; it is set in three different bedrooms, but easily stageable and charts marital tensions with a clever variation of acting styles.
Churchill allows the first act of her well-known fulllength play Top Girls to be played separately. This dinner-party scene in which a group of high-achieving women battling againt the odds makes a most effective self-contained piece, with many rich acting opportunities.
He noticed that in the midth century plays and novels had an increasingly strong streak of romantic sentimentality so with such plays as The Jealous Wife he pricked this high-flown bubble with barbs of humour. In his still-popular short comedy Polly Honeycombe he satirises the heroine who believes that real life will be a reflection of life in the latest successful romantic novel. To work, the play needs period style and full-bloodied comic performances to capture the mood of those vibrant times.
This amusing play, which still appears in modern drama festivals is, of course, copyright free and can found in a collection of 18th century short plays published by Oxford University Press in Stewart Conn — Scottish dramatist, poet, broadcaster, producer Stuart Conn has written more than 20 theatre scripts, including the fascinating short play The King , a strange mix of lyricism and Pinteresque menace. It is a play containing many conflicting elements and is heavy with symbolism.
Most of the plays combine humour with a wry and telling observation of life — and death. In Overtime , one of his most popular plays, the jocular farcical mayhem of a retirement party gives way to surrealism and a surprisingly touching climax. In One Careful Owner confusion reigns when an advertisement lures a purchaser into thinking a wife, rather than a car, is on offer.
Once again H Connelly has created a powerful little drama which at times is very funny. She created the melancholic Buggins family for radio and played all the parts in the sketches about them and also wrote novels and TV and film scripts notably, post, The Huggetts as well appearing on stage as a comedienne and character actress, and in films.
But one-act plays were a consistent part of her writing output throughout her life, and she penned over 50 of them, some written alone and others with Howard Agg, Michael Hogan and her nephew Denis Constanduros. Most of them were vignettes of working-class life, both comic e. Many of them offer a wry but loving commentary on domestic life, as it was in the s and s, and were comfortably within the compass of small amateur groups.
He wrote nearly 50 radio plays between and , though many remain unpublished. A selection of his best radio plays has been collected and published by the BBC. In both length and quality these plays provide material full of potential for enterprising theatre companies which welcome the challenge of translation of context. The gripping Unman Wittering and Zigo , especially suitable for youth casts and also published separately, is a disturbing piece about the way in which a class of school pupils decide to murder their unbearable teacher and then maintain an unshakeable collective alibi.
By contrast, Under the Loofah Tree is a delightful comic daydream in which the reclusive Edward conjures up images whilst in his bath and, in doing so, provides an oblique commentary on aspects of society far removed from the domestic setting. The themes of his writing often reflected the harshness of working class life, and the popularity of his plays with his audiences came through the recognition of their everyday existence. The drama for five men set in the depths of a mine, Hewers of Coal , proved his most popular play and is still presented frequently both in his home country and beyond.
By the time of his death in Joe Corrie had written more than 50 short plays including many light comedies and romances. It is said that he set out to give audiences a good cry and a good laugh, and over many decades audiences of his short plays would agree that he succeeded in that objective. His greatest success in this area came in with Tonight at 8.
One play — Star Chamber — was dropped and the remaining nine played in repertory to great popular acclaim. Of these, three are still produced regularly. Red Peppers, a struggling music hall act is seen both on and off-stage as they wrestle with poor material, dropped props and backstage vicissitudes. This theatrical comedy is contrasted with Still Life, the story of a chaste affair between a respectable woman, caught in a loveless marriage, and a doctor.
Nine years later the film version of this play, directed by David Lean and entitled Brief Encounter became one of the most successful films of its age. In the comedy Fumed Oak, Coward moves down the social class ladder to tell of a hen-pecked man who finally cracks and makes a bid for freedom. After this great success — six of the plays were filmed — it is strange that Coward did not write another one-act play apart from many revue sketches until His final plays have a common theme: a failure to live life to the full.
Shadows of the Evening features a dying man, his wife and his lover accepting a mutual dependency, whilst Come Into The Garden, Maud deals with the subject in lighter terms. Publishers: Samuel French; Methuen Constance Cox — British dramatist Constance Cox acquired a considerable reputation for her stage adaptations of major classic novels into full-length plays. All fanart posts must be text posts and flaired with the [Fanart] tag. If you are posting fanart drawn by yourself, please flair the post using the [OC] tag.
You may also submit it as a link post. You can only submit one fanart post per week. Holland for the episode "Flip. The following is a list of cast and characters who regularly appeared in one or more seasons of the show. The following is a list of some of the celebrity guests who appeared on the show. In a commentary on the season one DVD, Shandling says the guests were invariably happy to parody their media images and generally shared the same sense of humor as himself and the other writers.
The show had a total of thirteen directors. Ken Kwapis directed most of the first season, including the pilot, and contributed to the visual style of the show. He later went on to direct episodes of The Office , also including the pilot, using a " mockumentary " approach. Shandling directed three episodes of the final season. It went to Holland for the series finale "Flip". More than 40 writers wrote episodes of the show.
Shandling and Tolan were the head writers for the entire six-season run. Shandling and Dennis Klein wrote the pilot episode of the show. Shandling wrote 38, while Tolan wrote 23 episodes. LA Weekly called it "Very Funny". Many critics called it one of the greatest television shows of all time.
Ivan Morales calls it "the greatest HBO sitcom of all time". Brooke Allen in the New York Times called it "a comedy series so funny and risque as to make Seinfeld look positively bland". Despite drawing small audiences, The Larry Sanders Show has been influential. The show's most significant innovation is in celebrities playing themselves. Matt Zoller Seitz wrote in Time Out Los Angeles that it introduced to television the cinematic technique of "walk and talk" where the camera follows the actors as they move around the offices in conversation.
The whole postmodernist, self-reflexive fact-fiction sitcom thing. After the show ended, it came to be considered one of the finest TV shows of all time. On November 2, , Shout! This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. March Learn how and when to remove this template message. Garry Shandling Dennis Klein.
List of The Larry Sanders Show episodes. List of characters on The Larry Sanders Show. List of The Larry Sanders Show guest stars. List of awards and nominations received by The Larry Sanders Show. Archived from the original on All Def Comedy since Animals. Retrieved from " https: The Larry Sanders Show HBO network shows s American sitcoms American television series debuts American television series endings English-language television programs Fictional television shows American parody television series Peabody Award-winning television programs s American satirical television series Television series by Sony Pictures Television Television series about television Television series about show business Television series by Brad Grey Television.
Articles needing additional references from March All articles needing additional references TV. Views Read Edit View history. How silly, unaware, selfish and yet the same time caring, wanting, a teen love can be. The End of Summer; The script work for cultural fest continues during the summer vacation. This episode puts light on Mako and his friendship with Chiba. As I mentioned before, Mako is portrayed as a caring friend. Mako is what you call a selfless character. His problems are not primarily spoken or dealt with in the show.
It exists but with Mako himself. He is always treated as a supporting character who is unable to speak out his problems. Dream of a butterfly; Near Midway throughout the series, a perfect episode to be at the middle of the show — cultural fest. Now, this is how it goes in all shows, like a filler, or sometimes the same repetitive things happen. But here is where Hourou Musuko does it differently.
It gathers all the character in one place. I keep on saying this, but just observe how they start an episode. Both mentioning the aging of Nitori and change of season, growing old. This much is said in the few opening seconds. I am happy I was wrong. One thing leads to another, Nitori asks Anna for help, and hangs out with her, and finally confess his love.
When Yoshino hears this from Nitori she grows distant. One rejected girl and another rejecting girl who now seems to be rejected grow close together? Or it might be the mood swings due to her monthly cycle. Brand new me; It is Spring, a change in the season as well as to the characters. Classes change, students get mixed up and Nitori gets a new friend.
The unawareness of love of Nitori makes him even lovable. The karaoke was a genuine laugh moment. When things are revolving around Nitorin with three girls inside, but it somehow ends up as enjoyable session. Getting close to Anna has been positive so far. That also dealt with the stingy-ness between Nitorin, Yoshino and Chiba. And surprisingly Doi — the boy who used to be mean becomes a friend and they walk home together now.
A new life indeed. Green eye; This episode was a straight hit to the heart. Also, we get to know Yuki is a transsexual who used to be a male. Visiting chi-chan is an eye-opening segment, as we all understand how tough it is to be a boy and dress up as a girl. It would turn out bad, at least the minimum reaction would be a surprise even with the closest friends of Nitori. It is really hard to watch for me when he thinks how his parents would respond if he turns up in a girls uniform.
Even from a cultural standpoint, the negligence of such people in Japanese society is very saddening. It is time for the reveal. Better half; Isolation, bullying, hate and everything begins in the life of Nitorin. Nitorin wonders a lot about where he went wrong, or even if he was doing the right thing. The wandering son has grown up a lot.
Post-Colonial English Drama
We finally get to know the story of Yuki. It was always lingering in my mind if there would be any spotlight on her. Fortunately, we are given more than we can handle in a good way. She identifies herself as a transsexual woman.