James Moran is Head of Drama in the School of English Studies at the University of Nottingham, UK. He is the author of The Theatre of Seán O'Casey (Bloomsbury Methuen Drama, 2013). His other books include: Staging the Easter Rising (2005), and as editor Four Irish Rebel Plays (2007).

Moran provides a thorough discussion of the working dynamics of [Lawrence’s] plays and displays a keen affinity for demonstrating the theatrical dependency of Lawrence's novels. After an introductory overview of Lawrence and his cultural milieu, Moran devotes chapters to Lawrence's transition into playwriting, his difficulties with the genre, specific correlations with his novels, and his maturation as a dramatist. … Replete with notes and an extended bibliography, Moran's study enhances appreciation of an important facet of Lawrence's artistry. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals.

• AcknowledgementsForeword by Sir Richard EyreSynopsisIntroduction. The Significance of Lawrence’s Plays: Shifts in Reputation from 1930 to 2014Chapter 1. Writing Lawrence’s Plays: Becoming a Dramatist, 1885 to 1910Chapter 2. The Frustration of Staging: Dramatic Struggles, 1911 to 1930Chapter 3. The Drama of Lawrence’s Prose Fiction: the Playwright as NovelistChapter 4. Lawrence’s Theatrical Development: Realist and Experimentalist CrosscurrentsChapter 5. A Director’s Perspective: Peter Gill, in Conversation with James MoranChapter 6. A Playwright’s Perspective: Stephen LoweChapter 7. A Screenwriter’s Perspective: William IvoryChapter 8. A Postcolonial Perspective: Soudabeh AnanisarabConclusionAppendix: TimelineEndnotesBibliographyIndex

James Moran is Head of Drama in the School of English Studies at the University of Nottingham, UK. He is the author of The Theatre of Seán O'Casey (Bloomsbury Methuen Drama, 2013). His other books include: Staging the Easter Rising (2005), and as editor Four Irish Rebel Plays (2007).

Moran provides a thorough discussion of the working dynamics of [Lawrence’s] plays and displays a keen affinity for demonstrating the theatrical dependency of Lawrence's novels. After an introductory overview of Lawrence and his cultural milieu, Moran devotes chapters to Lawrence's transition into playwriting, his difficulties with the genre, specific correlations with his novels, and his maturation as a dramatist. … Replete with notes and an extended bibliography, Moran's study enhances appreciation of an important facet of Lawrence's artistry. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals.

• AcknowledgementsForeword by Sir Richard EyreSynopsisIntroduction. The Significance of Lawrence’s Plays: Shifts in Reputation from 1930 to 2014Chapter 1. Writing Lawrence’s Plays: Becoming a Dramatist, 1885 to 1910Chapter 2. The Frustration of Staging: Dramatic Struggles, 1911 to 1930Chapter 3. The Drama of Lawrence’s Prose Fiction: the Playwright as NovelistChapter 4. Lawrence’s Theatrical Development: Realist and Experimentalist CrosscurrentsChapter 5. A Director’s Perspective: Peter Gill, in Conversation with James MoranChapter 6. A Playwright’s Perspective: Stephen LoweChapter 7. A Screenwriter’s Perspective: William IvoryChapter 8. A Postcolonial Perspective: Soudabeh AnanisarabConclusionAppendix: TimelineEndnotesBibliographyIndex

James Moran is Head of Drama in the School of English Studies at the University of Nottingham, UK. He is the author of The Theatre of Seán O'Casey (Bloomsbury Methuen Drama, 2013). His other books include: Staging the Easter Rising (2005), and as editor Four Irish Rebel Plays (2007).

Moran provides a thorough discussion of the working dynamics of [Lawrence’s] plays and displays a keen affinity for demonstrating the theatrical dependency of Lawrence's novels. After an introductory overview of Lawrence and his cultural milieu, Moran devotes chapters to Lawrence's transition into playwriting, his difficulties with the genre, specific correlations with his novels, and his maturation as a dramatist. … Replete with notes and an extended bibliography, Moran's study enhances appreciation of an important facet of Lawrence's artistry. Summing Up: Recommended. Upper-division undergraduates through faculty and professionals.

• AcknowledgementsForeword by Sir Richard EyreSynopsisIntroduction. The Significance of Lawrence’s Plays: Shifts in Reputation from 1930 to 2014Chapter 1. Writing Lawrence’s Plays: Becoming a Dramatist, 1885 to 1910Chapter 2. The Frustration of Staging: Dramatic Struggles, 1911 to 1930Chapter 3. The Drama of Lawrence’s Prose Fiction: the Playwright as NovelistChapter 4. Lawrence’s Theatrical Development: Realist and Experimentalist CrosscurrentsChapter 5. A Director’s Perspective: Peter Gill, in Conversation with James MoranChapter 6. A Playwright’s Perspective: Stephen LoweChapter 7. A Screenwriter’s Perspective: William IvoryChapter 8. A Postcolonial Perspective: Soudabeh AnanisarabConclusionAppendix: TimelineEndnotesBibliographyIndex