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A collection of one hundred illustrated vignettes from the much-loved Kitchen Sink Drama series, as seen in Good Weekend
Elaine Wavering has become inured to a life of stagnant middle-class routine. On one particular morning, however, a bizarre confession from her upright, regimented husband throws her neat and tidy existence into complete disarray. Simultaneously, a rupture in the waste-disposal unit of their kitchen sink inadvertently leads to a shocking encounter that upends her quiet existence in ways that would have previously seemed unimaginable. As she seeks solace and guidance from her semi-estranged sister, Elaine must now look beyond her world of petit bourgeois respectability and contend with real-life events that are rapidly engulfing her in a vortex of existential crisis. A one-act version of Kitchen Sink Drama premiered at New York's Manhattan Theatre Source in 2009.
An irresistibly funny and tender play about big dreams and small changes, chosen to open the Bush Theatre's new venue.
From 1918’s Tickless Time through Waiting for Lefty, Death of a Salesman, A Streetcar Named Desire, A Raisin in the Sun, and The Prisoner of Second Avenue to 2005’s The Clean House, domestic labor has figured largely on American stages. No dramatic genre has done more than the one often dismissively dubbed “kitchen sink realism” to both support and contest the idea that the home is naturally women’s sphere. But there is more to the genre than even its supporters suggest. In analyzing kitchen sink realisms, Dorothy Chansky reveals the ways that food preparation, domestic labor, dining, serving, entertaining, and cleanup saturate the lives of dramatic characters and situations even when they do not take center stage. Offering resistant readings that rely on close attention to the particular cultural and semiotic environments in which plays and their audiences operated, she sheds compelling light on the changing debates about women’s roles and the importance of their household labor across lines of class and race in the twentieth century. The story begins just after World War I, as more households were electrified and fewer middle-class housewives could afford to hire maids. In the 1920s, popular mainstream plays staged the plight of women seeking escape from the daily grind; African American playwrights, meanwhile, argued that housework was the least of women’s worries. Plays of the 1930s recognized housework as work to a greater degree than ever before, while during the war years domestic labor was predictably recruited to the war effort—sometimes with gender-bending results. In the famously quiescent and anxious 1950s, critiques of domestic normalcy became common, and African American maids gained a complexity previously reserved for white leading ladies. These critiques proliferated with the re-emergence of feminism as a political movement from the 1960s on. After the turn of the century, the problems and comforts of domestic labor in black and white took center stage. In highlighting these shifts, Chansky brings the real home.
It's 1958. Beatie Bryant has been to London and fallen in love with Ronnie, a young socialist. As she anxiously awaits his arrival to meet her family at their Norfolk farm, her head is swimming with new ideas. Ideas of a bolder, freer world which promise to clash with their rural way of life. Roots is the remarkable centrepiece of Wesker's seminal post-war trilogy. It was first performed in 1959 at the Belgrade Theatre, Coventry, before transferring to the Royal Court. It is the second play in a trilogy comprising Chicken Soup with Barley and I'm Talking About Jerusalem. It went on to transfer to the Duke of York's Theatre in the West End. A true classic, Roots is an affecting portrait of a young woman finding her voice at a time of unprecedented social change. This Modern Classic edition features an introduction by Glenda Leeming.
The classic play about the complex, conflict ridden relationship between a teenage girl and her mother - Includes notes and assignments suggestions.
Syd Barrett was an English composer and purveyor of some of the most intriguing music ever written. Famous before his twentieth birthday, Barrett led the charge of psychedelia onstage at London's famed UFO club. With a Fender Telecaster and a primitive Binson echo unit, Barrett liberated the guitar from being, in critic Simon Reynolds' words, 'a riff machine, and turned it into a texture and timbre generator.' His inspired celestial flights of improvisation, and his more structured and whimsical short songs indicated a mind of unusual inventiveness. Chief in Barrett's mind was a Zen-like insistence on spontaneity; each performance had to be unique, and Barrett strived to push his music farther and farther out into the zone of complete abstraction. This in-depth analysis of Pink Floyd founding member Syd Barrett's life and work is the product of years of extensive research. Lost in the Woods traces Syd's swift evolution from precocious young art student to acid-fuelled psychedelic rock star, and examines the myriad musical and literary influences that he utilised in composing his hypnotic, groundbreaking songs. A never-forgotten casualty of the excesses, innovations, and idealism of the 1960s, Syd Barrett is one of the most heavily mythologized men in rock, and Lost in the Woods offers a rare portrayal of a unique spirit in freefall.
Safe in the liberal fortress of Manhattan, Raif Almedin is a first-generation immigrant who prides himself on his modern, enlightened views. But when his daughter falls for the son of a conservative Muslim family in White Plains, he discovers the threshold of his tolerance. In this sharp and timely tale, two families are forced to confront each other’s religious beliefs and cultural traditions, and to face their own deep-seated prejudice.
Bosnia 1992: In two kitchens, two soldiers recover a little of what they've lost during the war. A Serbian paramilitary soldier must face the consequences of his own brutality, while a Bosnian resistance fighter, crippled by the limits of his own courage, seeks refuge with a kindred soul.