Simon Gray – författare

The Pig Trade, Japes Too, Michael, The Holy TerrorThe Pig Trade is set in 1937 in the Villa of I Tatti outsider Florence where, under the menacing shadow of Mussolini, a famous art historian and a notorious art dealer have an explosive final encounter. Japes Too and Michael are companion plays, in which the love of two brothers for one woman both highlights and obscures their dependency on each other but where fate and tragedy strike differently. Simon Gray's play Melon, which follows a publisher into his nervous breakdown and out again, enjoyed great success in the West End but, dissatisfied with the work, Gray revised it so thoroughly that a new play with the same central character emerged, entitled The Holy Terror.This volume also contains a brief chronicle by the author on the gestation of his work and the impossibility of writing. 'Simon Gray is actually one of the most accessible, elegant and tender of contemporary writers. He is also, both on stage and on the printed page, laugh-out-loud funny.' Charles Spencer, Daily Telegraph'Gray's plays, funny and sad, have a savage honesty at their heart.' Mail on Sunday

When he turned sixty-five, the playwright Simon Gray began to keep a diary: not a careful honing of the day's events with a view to posterity but an account of his thoughts as he had them, honestly, turbulently, digressively expressed. The Smoking Diaries was the result, in which one of Britain's most beloved and original writers reflected on a life filled with cigarettes (continuing), alcohol (stopped), several triumphs and many more disasters, shame, adultery, friendship and love. Few diarists have been as frank about themselves, and even fewer as entertaining.

'A masterly portrayal of an innocent.' Harold Pinter, from 'Directing Simon Gray's Plays', Simon Gray Plays 1'Superficially, it is a light comedy about a group of educated, often eccentric English characters in an academic backwater in the early sixties. But though the jokes are excellent, the piece cuts deep. There are Strindberg-like glimpses of wretchedly unhappy marriages and, as in Ibsen, a sense of chickens coming home to roost. But the primary impression here is of an English Chekhov. As in the plays of the Russian master, the characters talk a lot, but they rarely listen, still less understand, so they are often at cross-purposes. And like The Seagull, the long time scheme in Quartermaine's Terms - it spans several years - creates a poignant sense of transience and mortality.' Daily Telegraph'Gray's selection of details and exchanges is immaculate: he achieves drama and mystery in mundane lives; the comedy is beautifully stated and even personal tragedies are underlined with running gags that ring with truthfulness. No false hothouse effect is necessary to make bare the bewilderment of spirit of his central figure, the grinning, forgetful and deeply kind staff lecturer, St John Quartermaine, an inarticulate character of awesome loneliness who rivals the tragic force of Willy Loman.' The Times 'A play that is at once full of doom and gloom and bristling with wry, even uproarious comedy. The mixture is so artfully balanced that we really don't know where the laughter ends and the tears begin: the playwright is in full possession of the Chekhovian territory where the tragedies and absurdities of life become one and the same.' New York Times

Spies betray people. That's what we do. It becomes a - a habit. Difficult to break - even when it's not - not strictly necessary.Wormwood Scrubs Prison, London, 1961. One of Britain's most notorious double agents, George Blake, is serving a forty-two year sentence when he strikes up an unlikely friendship with Irish petty criminal, Sean Bourke. Both men are eccentric outsiders. Each sees in each other the possibility of escape and not just from prison. But once on the outside their mutual dependence faces mounting pressures from MI5, the KGB and indeed from themselves.Simon Gray's absorbing and deftly funny play explores how personal freedom is an illusion and how even friendship must have careful boundaries in a world where deception is a reflex response.Cell Mates premiered at the Yvonne Arnaud Theatre, Guildford, in January 1995 before transferring to the Albery Theatre, London. The play was revived at the Hampstead Theatre, London, in November 2017.