- Paperback: 352 pages
- Publisher: Faber and Faber (6 July 2006)
- Language English
- ISBN-10: 057123013X
- ISBN-13: 978-0571230136
- Product Dimensions: 23 x 15.2 x 2.8 cm
- Average Customer Review: 3.0 out of 5 stars See all reviews (1 customer review)
- Amazon Bestsellers Rank: 498,905 in Books (See Top 100 in Books)
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Product Description
Book Description
John Arden, Sebastian Barry, Richard Bean, Leo Butler and Lucy Prebble, David Cregan, Martin Crimp, April de Angelis, David Edgar, Kevin Elyot, Simon Farquhar, Peter Gill, Christopher Hampton, David Hare, Donald Howarth, Ann Jellicoe, Terry Johnson, Ayub Khan Din, Hanif Kureishi, Conor McPherson, Mustapha Matura, Louise Page, Joe Penhall, Glyn Pritchard, Simon Stephens, David Storey, Timberlake Wertenbaker, Arnold Wesker, Roy Williams, Snoo Wilson, Nicholas Wright.
Product Description
A captivating collection of new interviews by Harriet Devine, the daughter of the first Artistic Director of the Royal Court, George Devine, to celebrate the theatre's fifty year anniversary. The book contains conversations with over thirty celebrated playwrights whose work has been produced at the Royal Court; from John Arden, whose first Court play was staged in 1957, to the young writer Simon Farquhar, whose premiere production is programmed for 2006. The exciting list of writers includes Sebastian Barry, Richard Bean, Martin Crimp, Anne Jellicoe, Terry Johnson, Hanif Kureishi, Conor McPherson, David Storey, Timberlake Wertenbaker, Arnold Wesker and Snoo Wilson. Concluding the volume is an interview with Graham Whybrow, Literary Manager of the Royal Court.
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Most Helpful Customer Reviews
2 of 2 people found the following review helpful
Format:Paperback
This is a useful book for anyone interested in the process of writing for the theatre. Although many of the writers offered insightful comments, I felt that the structure of the interviews limited the surprises on offer. That is to say, the interviewer (who is the daughter of the Royal Court's founder) asked pretty much the same questions and so a formula developed which, for me, made the book a bit of a plodding read. (Because the saving grace of playwriting is its energy).
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