Edward Bond. Literary Encyclopedia: Bond, Edward. Theater | Of human Bondage. We are like postage stamps on an envelope of which we do not know the contents, muses British playwright Edward Bond in a letter to Robert Woodruff, who is directing the English-language stage premiere of Bond’s Olly’s Prison for the American Repertory Theatre. At the center of the play is an ordinary man who in the opening scene commits an extraordinary act of violence whose inalterable reality he himself can barely comprehend. He spends the rest of Bond’s spare and brutal play trying to get inside that envelope.
"Ameliorating" is not a word in the 70-year-old Bond’s vocabulary. An avowed socialist as well as a poet and a theoretician of the theater, he came to prominence with the 1965 Saved, a play he calls "almost irresponsibly optimistic" despite a scene in which an infant in a pram is stoned to death. (ART founder Robert Brustein gave that work its American premiere, at Yale Repertory Theatre; Woodruff directed it in New York in 2001.) The Children by Edward Bond...written to be performed by a cast of young people. Autumn Tour, 2005 A group of young friends set out on an epic journey in a decaying world.
If they are going to survive, they are going to have to stick together. But mysteriously, one by one, they start to disappear... The Children by Edward Bond is an exciting new play, specially written to be performed by a cast of young people, working with two professional actors. This unique project is not to be missed. See The Children at a venue near you! 4 November @ 7.30pmSummerhill School, Kingswinford Tel.: 01384 816165 (Tickets: £2) 11 November @ 1.30 & 7.30pmEgerton Park College, Manchester Tel. 18 November @ 7.30pmEdge Arts Centre, Much Wenlock Tel.: 01952 728509 (Tickets: £6/£4) 25 NovemberWashwood Heath Technology College, Birmingham [Performance not open to the public] 2 December @ 7.30pmHalesowen College, Whittingham Road, Halesowen Tel.: 0121 602 7777 Ext. 739 (Tickets: £3/£1) For further information on the tour, please contact us on: 0121 608 7144 or 07946 006511.
Guardian Unlimited | Arts reviews | Lear. 'A performance whose greatness is in its lack of ego'... Ian McDiarmid as Lear at the Crucible. Photo: Tristram Kenton It begins with a king building a wall to keep the enemy out, unaware that he is constructing a prison for himself and his people. It ends with the new regime which has learned nothing from the past, also building a wall, and the same king - now old and blind - stumbling atop it to make his own tiny act of revolution. Inspired by Shakespeare's King Lear, and fashioned in the image of the atrocities of the 20th century, Edward Bond's 1971 epic doesn't show its age. In a world where there is no justice, violence begets violence. It may sound tough going, but it is thrillingly simple in performance due to the dazzling directness of Bond's writing, and the scope of the production that in Dick Bird's design takes the symbol of the wall right to the audience.
UK News: Ian McDiarmid reunited with Jonathan Kent on Sheffield's Lear (BroadwayWorld.com) The 2004/05 season continues in the Crucible Theatre in Sheffield with LEAR which runs from Wednesday 9 March - Saturday 2 April 2005. Bond's epic masterpiece, brought to vivid life in a new Crucible production that reunites Ian McDiarmid and Jonathan Kent for the first time since leaving The Almeida Theatre in London. Edward Bond's version of Lear's story embraces myth, superstition and reality to reveal the endemic violence of a rancorous society. Set around the symbolic building of a great wall, LEAR exposes false morality as the source of the aggressive tension which may ultimately destroy us all.
Jonathan Kent and Ian McDiarmid worked as joint Artistic Directors at the Almeida from 1990 to 2002. Among Jonathan's final credits whilst at the Almeida were THE TEMPEST and KING LEAR. Most recently his work includes THE FALSE SERVANT (National Theatre), an acclaimed production of HECUBA (Donmar Warehouse) and A CHILD OF OUR TIME (for ENO, Coliseum). Online | Robert Brustein on Theater. Talkin' Broadway Off-Broadway - Saved - 2/28/01. Saved Theatre Review by Matthew Murray Do you have a desire to see a baby stoned to death onstage? If so, hurry to The American Place Theatre to see their production of Saved, Edward Bond's controversial 1965 play, which opened there Sunday night. Truth to tell, there are few other reasons to see the play. The famous scene, which occurs near the end of the first act, is startling.
After Pam (Amy Ryan) leaves the baby in the unwilling care of its father, Fred, (Norbert Butz), he and his friends proceed to taunt, torture, and eventually kill it. Unflinchingly honest in its brutality, this scene left the audience at the performance I attended stunned and silent. It is a shame, therefore, that the play is not about the baby's death. Ultimately, it does not. While the performances are all decent, none are fully successful. Butz's character is generally the most watchable and interesting in the play, and seems to display levels the other characters don't. Review of A-A-America in SF Bay Guardian. Contemporary Review: Fifty years of British theatre. Review of A-A-America in Oakland Tribune. THE SEA. PeoplePlay UK - Edward Bond's letter about Saved. New Statesman: 'Theatre has only one subject: justice.' - interview with British playwright Edward Bond.
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Guardian Unlimited Politics | Special Reports | Theatre of war. It's almost like the old days. Political theatre has started popping up everywhere. Topical satire in Alistair Beaton's Feelgood. Dialectical debate in Camus's Les Justes. Impassioned protest and philosophical enquiry in two plays about asylum-seekers, Kay Adshead's The Bogus Woman and Timberlake Wertenbaker's Credible Witness. Obviously political theatre ebbs and flows. The Thatcherite 1980s also yielded much oppositional theatre. Does the decline of political theatre matter? I'd go further and say that drama is less vital when it ceases to relate private experience to the public world. If political theatre is to make a comeback it cannot resurrect old forms. If political theatre is to survive, it has to constantly reinvent itself. The key to the political drama of the future is information. But information can take many forms. . The Bogus Woman is at the Bush, London W12 (020-7610 4224), and Les Justes is at the Gate, London W11 (020-7229 0706), until March 3.
Search: "edward bond" site:britishtheatreguide.info. Saved, a CurtainUp review. A CurtainUp Review Saved By Elyse Sommer Another play about a baby has arrived in town. Unlike The Play About the Baby by Edward Albee (see link below), Saved by British playwright Edward Bond is not new but a newly minted production of a 1965 play. Like Albee, Bond is a controversial writer whose work has not always met with positive critical or audience response. In fact, when Saved premiered at the Royal CourtTheatre it was banned. Will the play's most notorious scene still send you jumping out of your seat? The savagery of the much publicized atrocity is matched by several more low-key depictions of emotional deprivation and its concomitant cruelty. As David Lohrey so aptly put it in his review of a recent Los Angeles revival (linked below), Saved is a theatrical illustration of the expression "the banality of evil " -- not just via the infamous baby carriage scene, but throughout.
Saved is not in the elevator music category of theater going. Blog Archive » Review: Olly's Prison. A&E / Theater/Arts / 'Prison' does not let go. CAMBRIDGE -- For those who first experienced the American Repertory Theatre's new Zero Arrow Theatre during the run of Pieter-Dirk Uys's open-hearted ''Foreign Aids," ''Olly's Prison" will seem like a different world.
The big black box has been cut down to 200 seats and is now a small fluorescent white box, the better to shine a glare on the working-class apartments where much of the action takes place. And we do mean glare. Little outside of the work of Neil LaBute and Sarah Kane prepares you for the harsh theatrical vision of England's Edward Bond. Like ''Saved," his most famous work, ''Olly's Prison" is an often amazing piece of theater, thanks in large part to the talents of ART's artistic director Robert Woodruff, the awe-inducing actor Bill Camp, and a terrific cast. ''Saved," which Woodruff directed in New York in 2001, became a cause celebre in 1965 because it depicts a baby being stoned to death by young, working-class toughs.
The second-act rampage is another matter. Boston Phoenix | Editor's Picks | Inside and out. Robert Woodruff The ads for the upcoming American Repertory Theatre production of Olly’s Prison by the controversial British playwright Edward Bond carry the disclaimer "contains scenes of violence, and may not be suitable for young children. " Robert Woodruff, the ART’s artistic director and the director of this American-premiere production, which opens next Friday, doesn’t buy the objections. "Aren’t the ancient Greek plays violent? Next to our daily television news broadcasts, the films, and the headlines, it’s not so violent.
" Originally written as a television drama and later tweaked by the playwright for the stage, Olly’s Prison opens with the scene of a man murdering his 16-year-old daughter, and the violence level ratchets up from there. Much of Olly’s Prison takes place in the prison to which Mike is sent; however, the stage directions state that "the greater prison lies outside.
" "I think all his plays are about a search for justice. A&E / Theater/Arts / { Everything is illuminated } CAMBRIDGE -- Robert Woodruff finds it hard to believe that the American Repertory Theatre has now done 18 productions under his artistic direction, which is nearing the end of its third season. But it's true. They range from director Peter Sellars's take on Euripides to Neil Bartlett's version of Marlowe, Anne Bogart's Marivaux to Janos Szasz's Chekhov, Chen Shi-Zheng's Chinese ... (Full article: 2244 words) This article is available in our archives: Guardian Unlimited | Arts features | Edward Bond, Saved, November 1965. The Lord Chamberlain's office slammed a ban on Edward Bond's second play, Saved. But where there was censorship, there were also loopholes. So the Royal Court, staunch defender of the notion that "a play needs to be shown as it was written", turned itself temporarily into a club theatre to stage the play's premiere on November 3 1965.
The scene that most riled the censor was one in which a baby was stoned to death. The critics were equally horrified. "One of the nastiest scenes I have ever sat through," said Jeremy Kingston in Punch. The Telegraph's WA Darlington felt "no sense of horror, no dramatic illusion. Bond's brutal, uncompromising vision of south-London thuggery provoked questions about the nature of theatre. The Illustrated London News critic said "the piece, cautionary as it is, has the resolve to shock", but praised Bond's "ear for the loose lingo of vicious teenagers and the semi-articulate banalities of their elders.
He was not the only defender. Playwright EDWARD BOND, 1934-