British and American Playwrights - Böcker

This edition includes four plays and one libretto, covering more than twenty years of the dramatist's career: The Palace of Truth (1870), Sweethearts (1874), Princess Toto (1876), Engaged (1877) and Rosencrantz and Guildenstern (1891). The collection demonstrates that Gilbert was an original dramatist in his own right. The sophisticated irony of his plays challenged the conventions of the Victorian burlesque and sentimental comedy by demanding, and receiving, an intelligent response from the audience. George Rowell's useful and thorough introduction, which presents the theatrical background to Gilbert's development, also shows the dramatist's influence on Pinero, Wilde and Shaw. Gilbert's style combines a technique rarely realistic and stretching to fantasy with a tone apparently cynical and in fact deeply pessimistic. This odd pairing of fantasy and fatalism was recognized by his own and later generations as 'Gilbertian' and the term has been widely applied even outside the theatre.

As playwrights David Garrick and George Colman the Elder showed themselves to be practical men of the theatre, providing excellent acting parts and well-constructed scenes capable of provoking laughter in any age. At one time they were rival managers of the two main London theatres, Drury Lane and Covent Garden, but their friendship was greater than their rivalry and survived until Garrick's death. This volume includes five plays: three short farces by Garrick, a full-length play by Colman and the famous collaborative work The Clandestine Marriage. The playwrights' abilities complemented each other and their eventual parting illustrates the divergence of comic styles that were popular at the time - the satirical and the sentimental. In his introduction Mr Wood describes the composition and expectations of the contemporary London audiences and the theatrical careers of the two playwright-managers.

Five plays by this virtuoso of the theatre have been gathered in one volume and given scholarly attention. Dion Boucicault, the most popular dramatist of the second half of the nineteenth century, was also one of the most prolific and representative. Irish in origin, he worked and wrote in England and America where for twenty years he led the touring circuit. His plays reflect the different theatrical traditions, Irish, English and American, in which he was a crucial figure. Two plays are published here for the first time this century, Used Up and Jessie Brown. The Shaughraun and The Octoroon are outstanding examples of melodrama; Old Heads and Young Hearts is one of the few notable nineteenth-century comedies. Peter Thomson's introduction assesses Boucicault's place in the nineteenth century in both England and America, and shows that his work cannot be ignored by any serious student of drama.

This volume contains edited texts of five plays by two late eighteenth-century dramatists. The plays have been chosen to represent the range of the two playwrights and the variety of dramatic material on offer during the period. The full-length plays and afterpieces by George Colman the Younger and Thomas Morton were as popular as Sheridan's works in their time, but today are seldom performed or read. This discrepancy lies at the heart of Barry Sutcliffe's extensive introduction, which explores the critical and social background to the dramatic activity of the period and relates the dramas to the shifting demands of the theatre audiences for whom these plays were written.

The American playwright and actor William Gillette is best remembered today for the role of Sherlock Holmes that he first created for the stage in 1899 and played for more than thirty years. Gillette also adapted foreign plays for the American stage and wrote strong melodramas and spy stories in which he frequently appeared himself. This volume includes All the Comforts of Home (1890), Secret Service (1895) and Sherlock Holmes (1899). Gillette's sure grasp of the keys to theatrical success, together with his technical innovations, makes him an interesting and important theatre figure. In his time, as playwright and player, he achieved a new combination of melodramatic suspense with a cool, understated acting style. These three plays represent the range of his dramatic talent.

The American playwright and manager-director Augustin Daly dominated the theatrical scene in the United States during the last half of the nineteenth century. His plays and productions set a new standard for American theatre and exerted a strong influence in England, beginning with a first European tour in 1884 and culminating in the opening of Daly's own theatre in London in 1893. Daly, with the assistance of his brother Joseph, had over ninety of his plays or adaptations performed. This unique collection brings together three disparate examples from his prolific output: A Flash of Lightning (1868), Horizon (1871) and Love on Crutches (1884). Daly, an exceptional contriver of theatrical effects, offered the theatre of the 1870s and 1880s melodramas and comedies greatly superior to those of his competitors. These three plays represent the range and energy of his talent.

Tom Taylor was one of the most successful and popular playwrights of the Victorian theatre. His plays are humorous and theatrically powerful, showing a social concern that was advanced for his times - particularly on matters such as the rehabilitation of criminals and corruption in public life. Taylor's work at the bar, in the civil service, and as a journalist and art critic inspired themes which he dramatized in more than seventy plays. Four of the best known are collected in this volume, the only edition of Taylor's works available. They are Still Waters Run Deep (1855), The Contested Election (1859), The Overland Route (1860) and the most popular, revived in modern productions at the National Theatre and the Victoria Theatre in Stoke, The Ticket-of-Leave Man (1863). Martin Banham discusses these and others in his introduction, and lists the original London cast at the beginning of each play. He provides a biographical record of Taylor's life and a list of all the principal plays. There are illustrations and a bibliography.

This volume contains four plays by the leading late Victorian and Edwardian playwright Arthur Wing Pinero (1855-1934). It provides a representative sample of the work of a writer who far outshone his rivals (including both Wilde and Shaw) in his own day, and inspired such successors as Somerset Maugham and Terence Rattigan in the genre of the 'wellmade play', and Ben Travers in the writing of farce. The plays are The Schoolmistress (1866), one of the famous Court farces; The Second Mrs Tanqueray (1893), the best known of all the plays about 'a woman with a past'; Trelawny of the 'Wells' (1898), a much-loved backstage romance; and The Thunderbolt (1908), a pioneering social drama. Two of the plays (The Schoolmistress and The Thunderbolt), are not available in print elsewhere. This scholarly edition includes an introduction, a biographical account, a full list of Pinero's plays in performance and publication, and several important appendixes, including an alternative ending to The Schoolmistress and significant variants in the text of The Second Mrs Tanqueray.

James Robinson Planché was one of the most prolific and successful of nineteenth-century playwrights. In a career spanning fifty years he wrote over one hundred and eighty pieces of all types, from pantomime and farce to melodrama and opera, for production at a wide range of London theatres. This book offers a representative selection of his most popular plays. It includes one melodrama - The Vampire; or The Bride of the Isles (1820), which represents the first treatment of the vampire theme on the English stage; one farce - The Garrick Fever (1839); three 'fairy' extravaganzas - Beauty and the Beast (1841), Fortunio and his Seven Gifted Servants (1843), and The Discreet Princess; or, The Three Glass Distaffs (1855); one 'classical' extravaganza - The Golden Fleece; or, Jason in Colchis and Medea in Corinth (1845); and one revue of events in contemporary London - The Camp at the Olympic (1853). The volume includes a lengthy introduction which sets the plays in the theatrical context of their time, a chronological record of Planché's life, a complete list of his plays, and a bibliography.

For this volume George Taylor has edited five plays by two largely forgotten eighteenth-century playwrights, Samuel Foote and Arthur Murphy. The plays are The Minor and The Nabob by Foote and The Citizen, Three Weeks after Marriage and Know Your Own Mind by Murphy. All, apart from the last, are two- or three-act farces, the main popular fare of the eighteenth-century theatre. They are still eminently playable today, each exploring a different aspect of London society. Both playwrights have an acute ear for amusing and socially revealing dialogue, with a deft sense of situation comedy. Foote was an important theatre manager who established the success of the Haymarket Theatre by his particular brand of satire and mimicry. Had Murphy been more assiduous in his theatrical career and maintained good relations with David Garrick, his reputation as a dramatist might now have ranked him alongside Goldsmith and Sheridan.

This volume introduces the works of an important but neglected dramatist, one of the most prolific and popular of the mid-Victorian period. H. J. Byron wrote an enormous number of comedies, burlesques and pantomimes. He invented the characters of Widow Twankay and Buttons, still beloved by modern pantomime audiences. His burlesques of melodrama helped to bring an end to the more outlandish examples of the genre; inveterate punning became his trademark. Byron was also a competent editor, theatre manager and actor specializing in the eccentric roles of his own plays. As playwright he was second only to W. S. Gilbert and Tom Robertson, whose careers he helped to further. Jim Davis has edited four of the plays, illustrating them with contemporary drawings and providing an extensive introduction.

This edition contains the three most important works of Charles Reade (1814-1884). Reade adapted the social purpose and concern for detail of the realistic novel to the stage. He was much concerned with poverty, the brutality of the prison regime of his time and the abuse of mental asylums. He assigned a specially important role to women in his plays, choosing to write for the charismatic actresses of his day. Masks and Faces (1852) is concerned with the public image and private life of a leading Covent Garden actress; The Courier of Lyons (1854) is based upon a real case of mistaken identity; and It Is Never Too Late to Mend (1865) describes the legal and financial oppression of poor English farming folk. All these plays were very popular and successful, performed and revived many times. Dr Hammet provides alongside them an informative introduction, notes on the text, a short biography of Reade, a full list of his plays and productions, and a bibliography.

Henry Arthur Jones was among the most prominent British dramatists of his day. A contemporary of Pinero, Wilde and Shaw, he did his best to elevate drama to the level of literature whilst constructing plays that were also successful in the commercial theatre. Though some of his contemporaries considered him cynical and daring, he strove to confront major issues without offending accepted social and dramatic conventions. This volume contains three of Jones's ninety-odd plays, representing the best of his work in different styles: melodrama and society drama. The Silver King (1882), the story of a man, falsely accused of murder, was Jones's first great success. It is one of the best melodramas ever written, and won high praise from Matthew Arnold for its literary merit and convincing characterisation. Jones's interest in the 'New Woman' of the 1890s is expressed in the lively dialogue of The Case of Rebellious Susan (1894), whose heroine is advised to renounce her new lover and return to her faithless husband - scarely a radical conclusion, but sympathetically handled. The Liars (1897) is a fine comedy of manners which again considers the question of marriage and the role of women in society. Dr Jackson's full introduction places Jones in the context of late Victorian society and theatre and describes his other literary activities - the published letters and essays on drama - as well as discussing some of the plays not included here. The volume is illustrated by contemporary production prints.

'After years of sham heroics and superhuman balderdash, Caste delighted everyone by its freshness, its nature, its humanity.' Thus, after watching a revival in 1897, did Shaw generously recognize the impact made thirty years earlier by Tom Robertson's best-known play. Yet, in spite of the acknowledged importance of these seminal dramas, they are not easily accessible in print, and this edition therefore comprises four of Robertson's most successful comedies: Society (1865), Ours (1866), Caste (1867) and School (1869). Beginning his career as a theatrical hack-of-all-trades, Robertson ultimately found his niche with the Bancrofts at the Prince of Wales's Theatre, establishing a vogue for comedies of everyday Victorian life, and creating vehicles for casts whose particular talents he learnt to exploit. The playwright's distinctive trademarks - fairytale contrivance and domestic realism, tender romance and mild debunking of convention - offered a refreshing change from the prevailing genres of burlesque and melodrama. William Tydeman's substantial introduction follows each phase of Robertson's creative development, stressing the historical significance of his works as well as their intrinsic merits as drama.

A cofounder of the Provincetown Players - the group that acted as midwife to the American theatre - Susan Glaspell (1876-1948) can also lay claim to be a major figure in her own right. Her early plays were in many respects as challenging and original as those with which O'Neill made his debut. Her concern with language as subject, with character as an expression of social role, with plot as a mechanism that may ensnare rather than locate the self, mode her very much a modern. In Trifles (1916) she developed a feminist critique of social role. In The Outside (1917) she staged a debate between the life force and a perverse celebration of death. In both plays silence becomes an eloquent expression of meaning. The Verge (1921) is an experimental work of considerable proportions, more daring in many ways than anything attempted by O'Neill. Though Inheritors (1921) is far more conventional it touched a contemporary nerve, questioning the nature and reality of American pieties. Long known only for a single play, Susan Glaspell now emerges as a significant figure in the history of American drama, a woman of genuine creative daring.