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Includes the plays The Foursome, Alpha Beta, The Sea Anchor and The Punishment E. A. Whitehead's first play, The Foursome, had its premiere at the Royal Court Theatre in 1971, and subsequently transferred to the West End, winning the George Devine Award and Evening Standard Award for most promising playwright. Ostensibly a play about the battle of the sexes, it is actually an exploration of the assumptions that make such battles inevitable. Whitehead continued his exploration of sexual conflict in his next two plays, Alpha-Beta and The Sea Anchor. The plays were widely produced and won Whitehead an international reputation. The Punishment, shown live on BBC2 in 1972, is a one-act play about authority and corruption.
The Foursome is ostensibly a play about the battle of sexes, it is actually an exploration of the assumptions that make such battles inevitable. Whitehead continued his exploration of sexual conflict in his next two plays, Alpha Beta and The Sean Anchor. The Punishment is a one-act play about authority and corruption.
Derived from The Cambridge guide to theatre_
This pioneering study examines regional British television drama from its beginnings on the BBC and ITV in the 1950s to the arrival of Channel Four in 1982. It discusses the ways in which regionalism, regional culture and regional identity have been defined, outlines the history of regional broadcasting in the UK, and includes two detailed case studies – of Granada Television and BBC English Regions Drama – representing contrasting examples of regional television drama during what is often described as the ‘golden age’ of British television. The conclusion brings the study up to date by discussing recent developments in regional drama production, and by considering future possibilities. Written in a scholarly but accessible style, the book uncovers a forgotten history of British television drama that will be of interest to lecturers and students of media and cultural studies, as well as the general reader with an interest in the history of British television.
‘You know... when a structure has lost its essence but retained its shape, the geologists call it: a Pseudomorph. A false shape. That’s our marriage.’ Mr and Mrs Elliot have imprisoned themselves within a domestic incarceration of marriage, family and society’s twitching curtains. Battling through their self-made entrapment for the sake of the kids, they soon begin to destroy each other through an ugly routine of rows, affairs and suicidal blackmail. Written with a controlled irony and an underlying compassion for its tormented characters, Ted Whitehead’s bold and unflinching play asks questions about the choices we make to fit in with social conventions – questions that are just as relevant now as they were in 1972.
Paranoid visions explores the history of the spy and conspiracy genres on British television, from 1960s Cold War series through 1980s conspiracy dramas to contemporary ‘war on terror’ thrillers. It analyses classic dramas including Tinker Tailor Soldier Spy, Edge of Darkness, A Very British Coup and Spooks. This book will be an invaluable resource for television scholars interested in a new perspective on the history of television drama and intelligence scholars seeking an analysis of the popular representation of espionage with a strong political focus, as well as fans of cult British television and general readers interested in British cultural history.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
On British television drama in the 1980's
Provides information on the history and present practice of theater in the world.