David Crane – författare

A groundbreaking work of Romantic biography; David Crane’s book is an astonishingly original examination of Byron, and a radical approach to biography.Crane focuses on the lifelong feud between Augusta – Byron’s half-sister with whom he had a passionate affair – and Annabella, his society wife. Recreating a meeting between the two, years after Byron's death – the Romantic ‘High Noon’ – he explores the emotional and sexual truth and the human vulnerability that lie at the heart of the Byron story.‘The Kindness of Sisters’ is not only rigorous in its scholarship, but also superbly compelling drama. Crane’s book combines passion, revenge and recrimination in 19th-century Britain with all the intensity of a Greek tragedy.

[Previously published as ‘Went The Day Well’]‘Of all the books marking the bicentenary Waterloo, this has to be the best’ Spectator‘A book to die for’ Evening StandardFrom Samuel Johnson Prize shortlisted author David Crane, this is a breathtaking portrait of the Britain that fought the battle of Waterloo.As Wellington’s rain-sodden army retreated towards an obscure valley called Waterloo, the men and women of Britain were still going to the theatre and science lectures, working in the fields and the factories, reading and writing books and sermons, painting their pictures and sitting in front of Lord Elgin’s marbles. David Crane’s stunning freeze-frame of Britain on this day of momentous change shifts hour by hour between Britain and Belgium. The Britain that fought Waterloo – its radicals and patriots, artisans and aristocrats, prisoners and poets – appears through the smoke of battle and the mythology of Waterloo in this magnificent and original tracing of the endless, overlapping connections between people’s lives.

David Crane has given us a magisterial portrait of one of Britain’s greatest heroes and explorers, acclaimed as the ‘masterpiece’ on the subject. Reissued for the 100th anniversary of Scott’s doomed expedition.‘It seems a pity, but I do not think I can write more…For God’s sake look after our people.’These were the final words written in Scott’s diary on 29 March 1912, as he lay dying of exhaustion, starvation and extreme cold, in his tent on his return journey from the South Pole. Since then he has been the subject of many books. Yet in all the pages that have been written about him, the personality behind the legend has been forgotten or distorted beyond all recognition.David Crane’s magisterial biography redresses this completely. By reassessing Scott’s life and his substantial scientific achievements, Crane is able to provide a fresh and exciting perspective on both the Discovery expedition of 1901-4 and the Terra Nova expedition of 1910-12. The courage and tragedy of Scott’s last journey are only one part of the process, for the scientific enquiry that led up to it transformed the whole nature and ambition of Antarctic exploration.Written with the full support of Scott’s surviving relatives, and with access to the voluminous diaries and records of key participants, this definitive biography sets out to reconcile the very private struggles of the man with the very public life of extremes that he led.

Shortlisted for the Samuel Johnson prize for non-fiction. The extraordinary and forgotten story of the building of the World War One cemeteries, due to the efforts of one remarkable man, Fabian Ware. In the wake of the First World War, Britain and her Empire faced the enormous question of how to bury the dead. Critically-acclaimed author David Crane describes how the horror of the slaughter motivated an ambulance commander named Fabian Ware to establish the Commonwealth war cemeteries.Behind these famous monuments – the Cenotaph, Tyne Cot, Menin Gate, Etaples amongst them – lies a deeply moving story; ‘Empires of the Dead’ chronicles a generation coming to terms with grief on a colossal scale.

This book is a systematic attempt to establish Sheridan as a major figure in the history of English comedy. Leading scholars address Sheridan's role not only as an outstanding playwright, but also as the manager of Drury Lane Theatre, and his subsequent career as a Member of Parliament. The essays examine the theatrical world in which Sheridan worked, discuss his major plays, and include a modern director's observations on the production of his work today. This is combined with an important re-evaluation of Sheridan's achievements as a master of rhetoric in the political arena, to provide a much needed contemporary assessment of this multifaceted man and his work.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. In this second edition of Shakespeare's Merry Wives of Windsor David Crane emphasises the liveliness of the play in stage terms. He also claims that this citizen comedy was an expression of Shakespeare's fundamental understanding of human life, conveyed centrally in the character of Falstaff. In the process he examines Shakespeare's free and vigorous use of different linguistic worlds. An account of the play's textual history concludes that at the time of its earliest performances Shakespeare's text was being adapted to specific theatrical needs, and as much in the possession of its players as of its author.

The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. In this second edition of Shakespeare's Merry Wives of Windsor David Crane emphasises the liveliness of the play in stage terms. He also claims that this citizen comedy was an expression of Shakespeare's fundamental understanding of human life, conveyed centrally in the character of Falstaff. In the process he examines Shakespeare's free and vigorous use of different linguistic worlds. An account of the play's textual history concludes that at the time of its earliest performances Shakespeare's text was being adapted to specific theatrical needs, and as much in the possession of its players as of its author.

This book is a systematic attempt to establish Sheridan as a major figure in the history of English comedy. Leading scholars address Sheridan's role not only as an outstanding playwright, but also as the manager of Drury Lane Theatre, and his subsequent career as a Member of Parliament. The essays examine the theatrical world in which Sheridan worked, discuss his major plays, and include a modern director's observations on the production of his work today. This is combined with an important re-evaluation of Sheridan's achievements as a master of rhetoric in the political arena, to provide a much needed contemporary assessment of this multifaceted man and his work.

Musical revue Words by David Crane, Seth Friedman and Marta Kauffman. Music by William Dreskin, Joel Philip Friedman, Seth Friedman, Alan Menken, Steven Schwartz and Michael Skloff. Characters: 3 male, 3 female Unit set. This is a wonderful collection of songs about people who place lonely hearts ads: lonely people looking for that certain someone. In other words: Personals is about Most of Us, about the unending search for love in the Post Me Decade. "Are you looking for that "special' night where everything is going to be peachy, and you are going to meet the swellest little show of your dreams?...Personals is a winner, destined to find, apart from anything else, its own special place on the singles scene, the date show for the young in heart, the Jacques Brel of the '80s."-- N.Y. Post.

The Critic was Sheridan's response to a very specific political and theatrical situation. In the summer of 1779, a Franco-Spanish invasion seemed imminent and patriotic fervour superseded party divisions and personal animosities. The Critic satirises the panic of the summer in the form of the comically misconceived tragedy 'The Spanish Armada' that is in rehearsal in the second and third acts, but The Critic ends with genuine patriotic feeling. This edition traces both the political and the theatrical objects of Sheridan's satire and discusses its reliance (and improvement) on earlier meta-theatrical burlesques like The Duke of Buckingham's Restoration romp The Rehearsal.

Although it was written shortly before or after Queen Elizabeth's death in 1603 and performed by the boy company at Blackfriars, this play foreshadows the light ladies and callous gallants of Restoration comedy. Passion is a scourge, love is humiliation, and friends might as well be enemies. Freevill discards his concubine Franceschina and, for a joke, sets his straight-laced friend Malheureux on to her, who falls for her and promises to carry out her revenge on Freevill by killing him. The play in the theatre, which is fully imagined in the introduction to this edition, impresses on the audience the spuriousness of rigid moral persuasions, especially when they are tried by fits of sexual passion.

Dryden's audiences in 1671, both aristocratic and middle-class, would have been quick to respond to the themes of disputed royal succession, Francophilia and loyalty among subjects in his most successful tragicomedy. In the tragic plot, written in verse, young Leonidas has to struggle to assert his place as the rightful heir to the throne of Sicily and to the hand of the usurper's daughter. In the comic plot, written in prose, two fashionable couples (much more at home in London drawing-rooms than at the Sicilian court) play at switching partners in the 'modern' style. The introduction of this edition argues that Dryden's own ambivalence about King Charles and his entourage, on whom he came to rely more on more for patronage, manifests itself in both plots; most of all perhaps in the excessively Francophile Melantha, whose affectation cannot quite hide her endearing joie-de-vivre.