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This title offers a comprehensive overview of Wertenbaker's playwriting career which spans more than 30 years of stage plays. It considers the contexts of their initial productions by a range of companies and institutions, including the Royal Court, the Arcola and the Women's Theatre Group
Heroism is danger and risk, and frankly, until now, it's been male. In the near future a group of women gather in a half-built structure on Winter Hill in Bolton. Is it a chance to have a drink with friends? Is it a book club discussing famous heroines? Or is it a revolution? Set in the near future, Winter Hill centres on a eight women as they deal with the sale of local land to developers of a luxurious skyscraper hotel. Questioning the lengths people should go in the name of a cause, Timberlake Wertenbaker's Winter Hill premiered at the Octagon Theatre, Bolton, in May 2017.
America. 1776. Christian is a Quaker. His family came to America to live in peace. But he is a young man fired up by dreams of revolution. Should he defy his community and pick up a gun? Thomas Jefferson is an idealist, with a vision of liberty for all. But America is a fractured coalition of states, in a bloody war for independence. How will he balance the ideal with the reality? Susanna was born a slave. But the British promise liberation for those who join their fight against the revolution. Where does true freedom lie? Jefferson's Garden by Timberlake Wertenbaker premiered at Watford Palace Theatre in February 2015.
The Theatre of Timberlake Wertenbaker offers the first comprehensive overview of Wertenbaker's playwriting career which spans more than thirty years of stage plays. It considers the contexts of their initial productions by a range of companies and institutions, including the Royal Court, the Arcola and the Women's Theatre Group. While examining all of Wertenbaker's original stage works, Sophie Bush's companion focuses most extensively on the frequently studied plays Our Country's Good and The Love of the Nightingale, but also draws attention to early unpublished works and more recent, critically neglected pieces, and the counterpoints these provide. The Companion will prove invaluable to students and scholars, combining as it does close textual analysis with detailed historical and contextual study of the processes of production and reception. The author makes comprehensive use of previously undiscussed materials from the Wertenbaker Archive, including draft texts, correspondence and theatrical ephemera, as well as original interviews with the playwright. A section of Performance and Critical Perspectives from other scholars and practitioners offer a range of alternative approaches to Wertenbaker's most frequently studied play, Our Country's Good. While providing a detailed analysis of individual plays, and their themes, theatricalities and socio-historical contexts, The Theatre of Timberlake Wertenbaker also examines the processes and shape of Wertenbaker's career as a whole, and considers what the struggles and triumphs that have accompanied her work reveal about the challenges of theatrical collaboration. In its scope and reference Sophie Bush's study extends to encompass a wealth of additional information about other individuals and institutions and succeeds in placing her work within a broad range of concerns and resonances.
When an invitation to The Ball arrives at the Ash girl's house, from Prince Amir, she can't bring herself to believe that she, like her sisters, can go. With her mother dead and her father away, she must learn to fight the monsters that have slithered and insinuated their way into her heart and mind. In this wondrous drama Timberlake Wertenbaker explores the beauty and terror inherent in growing up.The Ash Girl premiered at Birmingham Rep in 2001.
In return for aid in war, King Pandion of Athens gives his daughter in marriage to Tereus, King of Thrace. But once in Thrace Procne misses her sister Philomele and sets out to fetch her from Athens. On the way back Tereus deceives and seduces Philomele, silencing her by tearing out her tongue.
Millie, a director, discusses with her actors, Ian and Tom, how to interpret two famous historical figures from the nineteenth century. It's 1831. The naturalist Charles Darwin is invited to travel with Robert Fitzroy into uncharted waters off the coast of South America aboard 'The Beagle'. Their five year journey is fraught with philosophical and personal tensions. Fitzroy, a staunch Christian, has faith in the unquestionable authority of the Bible; Darwin begins to explore a more radical vision, his theory of natural selection. A meditation on history and human relationships, After Darwin links past and present through these five characters, and raises timeless questions about faith, friendship and how we interpret the past. After Darwin was first performed in July 1998, at Hampstead Theatre, London.
THE STORY: Mary Traverse, the pretty, carefully schooled daughter of a wealthy London merchant, chafes at her pampered existence, and hungers for knowledge and experience of the outside world. Leaving her father's protection she is, at first, shock
Observed by a lone, mystified Aboriginal Australian, the first convict ship arrives in Botany Bay, 1788, crammed with England's outcasts. Colony discipline in this vast and alien land is brutal. Three proposed public hangings incite an argument: how best to keep the criminals in line, the noose or a more civilised form of entertainment? The ambitious Second Lieutenant Ralph Clark steps forward with a play. But as the mostly illiterate cast rehearses, and a sense of common purpose begins to take hold, the young officer's own transformation is as marked and poignant as that of his prisoners. A profoundly humane piece of theatre, steeped in suffering yet charged with hope, Timberlake Wertenbaker's Our Country's Good (based on a true story) celebrates the redemptive power of art. It premiered at the Royal Court Theatre, london, in 1988, winning the Laurence Olivier Play of the Year Award. This edition was published to coincide with a major revival production at the National Theatre, which opened on 19 August 2015.