Suburban Strains is a 1980 musical by British playwright Alan Ayckbourn with music by Paul Todd. This was the first attempt Ayckbourn made at a musical since the ill-fated Jeeves! in 1975. It is about a teacher, whose marriage to actor Kevin breaks down, only to find her new partner, doctor Matthew worse due to his control freakery, before making up with Kevin again. Suburban Stains on official Ayckbourn site Allen, Paul A Pocket Guide to Alan Ayckbourn Plays Faber & Faber ISBN 0-571-21492-4
For the psychological and social phenomenon, see: Imaginary friends. Invisible Friends is a 1989 children's play by the British playwright Alan Ayckbourn. Seen as a companion play to Woman in Mind, it is about a teenager, who escapes her unhappiness with her own family by reviving her imaginary childhood friend, Zara. Lucy's family, however, do not approve of this imaginative thinking. Zara helps Lucy to make her family invisible, Lucy feels much happier. However, Zara outstays her welcome and manipulates Lucy into catering and cleaning for her and her brother Chuck and father Felix. Lucy manages to defeat Zara and Felix and make her family visible again, they begin to pay more attention to her. Allen, Paul. A Pocket Guide to Alan Ayckbourn Plays. Faber and Faber. ISBN 0-571-21492-4. "Invisible Friends". Alanayckbourn.net. Archived from the original on March 10, 2012. Retrieved August 21, 2010
Woman in Mind
Woman in Mind is the 32nd play by English playwright, Alan Ayckbourn. It was premiered at the Stephen Joseph Theatre In The Round, Scarborough, in 1985. Despite pedestrian reviews by many critics, strong audience reaction resulted in a transfer to London's West End; the play received its London opening at the Vaudeville Theatre in 1986 where it received predominantly excellent reviews. Woman in Mind was Ayckbourn's first play to use first-person narrative and a subjective viewpoint and is considered to be one of his most affecting works and one of his best. Woman in Mind was the last play written by Ayckbourn before his two-year sabbatical at the Royal National Theatre. Most of it was written. Influences for the play include the film Dead on Arrival in which the narrator is revealed to be dead at the climax; the Man Who Mistook His Wife for a Hat by Oliver Sacks is said to be an influence. There were similarities to Just Between Ourselves, which followed a woman, breaking down with neglect, but unlike Just Between Ourselves, where the audience sees the breakdown from the point of view of those surrounding Vera, in this play, everything was shown from the point of the view of the deluded Susan.
Another theme was Susan's relationship to her son who joined a cult that forbids communication with parents, in what play critic Michael Billington considered to be an attack on organised religion. In his words, the play is "not only about an neglected middle-aged woman's descent into madness but the failure of the orthodox Christian morality to cope with individual unhappiness."Unlike most of Ayckbourn's earlier plays, which were completed the day before rehearsals began, Woman in Mind was completed a week earlier than he expected. Ayckbourn himself was conscious that this play was radically different from his earlier plays in that the audience is expected to engage with a character whose perceptions are unreliable, his agent was sceptical as to whether an audience would accept such an unconventional play, as the publicity went out before Ayckbourn had begun writing, an unusual brochure note was issued: At the time of going to press a high wall of secrecy surrounds this project. Some have the theory that the reason for this is to protect such original comic material from the risk of plagiarism.
Others, more cynical, suggest that it could be due to the fact that the author hasn't started on it yet and is anxious not to commit himself. Intending to have a male central character, Ayckbourn found that a woman's voice was emerging, felt that the public would be more sympathetic to a woman, therefore he changed the sex. Ayckbourn has commented that he did not want the central character to be a man in case audiences took the play to be autobiographical. Paul Allen, Ayckbourn's biographer, believes that Woman in Mind is Ayckbourn's most personal play and that a major influence on it may have been a breakdown suffered by his mother in the 1950s, he suggested that Susan's relationship to her son may have been influenced by Alan Ayckbourn's relationship with his son Steven, at the time in a community in California. This view is not shared by everyone, but it is agreed that Woman in Mind is a personal play to Ayckbourn; the central character in Woman in Mind is, of course, Susan. She is a housewife who, in reality, is neglected by her husband, patronised by her sister-in-law, estranged from her son.
In her own imaginary world, by contrast, she is happy and loved by her perfect family. Susan remains on-stage throughout the play, everything seen and heard on stage is what is seen and heard by Susan, both real and imagined. There are four other real characters in the play: Gerald, Susan's real husband, a vicar whose interest in his wife has long since faded in favour of his book and undivided attention to his sister. Contrasting Susan's own family are three imaginary characters, existing only in Susan's mind: Andy, Susan's imaginary husband, devoted, master cook, everything missing from Gerald. At first, the imaginary characters are distinguished from the real characters by their white summery outfits. However, as Susan's mind goes out of control, the real characters start entering Susan's imaginary world, until it is difficult to tell what is real and what is pretend; the entire play takes place in what is, in reality and Gerald's tiny back garden. In Susan's imagination – and with it the audience's view – the same piece of grass becomes a small part of her imaginary vast estate, with a transition between the two worlds achieved through changes in sound and lighting.
The play set over two acts. The first act can be considered as two scenes, the first scene one afternoon, the second scene on lunchtime the following day; the second act commences immediately where the first act leaves off, ends some time overnight, but as Susan's perception of reality deteriorates, the passage of time becomes subjective. The play was staged in the round for its original production at the Stephen Joseph Theatre, adapted fo
Sisterly Feelings is a 1979 play by British playwright Alan Ayckbourn. It is the first of Alan Ayckbourn's plays to have alternate plotlines depending on decisions made during the plays. In this play, two sisters and Dorcas, compete for the attention of their brother's fiancée's brother and whoever ends up with him depends on a toss of coin for scene two, a decision made by the actors in scene three. Sisterly Feelings on official Ayckbourn site Allen, Paul A Pocket Guide to Alan Ayckbourn Plays Faber & Faber ISBN 0-571-21492-4
It Could Be Any One Of Us
It Could Be Any One Of Us is a 1983 play by British playwright Alan Ayckbourn. This play was a murder mystery, but with only subtle changes to the play, there are three possible endings, each naming a different character as the murderer, it Could Be Any One Of Us on official Ayckbourn site
Making Tracks (play)
Making Tracks was a 1981 musical play with words by Alan Ayckbourn and music by Paul Todd. It is set in a recording studio and is about Stan, a recording studio owner in debt to businessman Wolfe, who stakes everything on singer/songwriter Sandy, whilst using the voice of Lace, Stan's ex-wife and Wolfe's new partner. Although the musical enjoyed good ticket sales, critical reaction was lukewarm; the play has been only re-staged a few times, was never published, is not available for production. Making Tracks on official Ayckbourn site Allen, Paul A Pocket Guide to Alan Ayckbourn Plays Faber & Faber ISBN 0-571-21492-4
The Garrick Theatre is a West End theatre, located on Charing Cross Road, in the City of Westminster, named after the stage actor David Garrick. It opened in 1889 with The Profligate, a play by Arthur Wing Pinero, another Pinero play, The Notorious Mrs. Ebbsmith, was an early success at the theatre. In its early years, the Garrick appears to have specialised in the performance of melodrama; the theatre became associated with comedies, including No Sex Please, We're British, which played for four years from 1982 to 1986. There was another theatre, sometimes called the Garrick in London, on Leman Street, opened in 1831 and demolished in 1881; the new Garrick Theatre was financed in 1889 by the playwright W. S. Gilbert, the author of over 75 plays, including the Gilbert and Sullivan comic operas, it was designed by Walter Emden, with C. J. Phipps brought in as a consultant to help with the planning on the difficult site after an underground river was discovered in the excavation; the theatre had 800 seats on four levels, but the gallery level has since been closed and the seating capacity reduced to 656.
The theatre's first manager was Gilbert's friend John Hare. The first play at the theatre, The Profligate, by Arthur Wing Pinero and starring Hare, opened on 24 April 1889. Sydney Grundy's long-running French-style comedy A Pair of Spectacles opened here in February 1890. Mrs Patrick Campbell starred five years in Pinero's The Notorious Mrs. Ebbsmith. Afterwards, the theatre suffered a short period of decline until it was leased by Arthur Bourchier for six years, whose wife, Violet Vanbrugh, starred in a series of successful productions ranging from farce to Shakespeare. In 1900, the theatre hosted. Rutland Barrington presented several stage works at the Garrick, including his popular "fairy play" called Water Babies in 1902, based on Charles Kingsley's book, with music by Alfred Cellier, among others; the only piece premiered by W. S. Gilbert here was Harlequin and the Fairy's Dilemma, a "Domestic Pantomime". In 1921, Basil Rathbone played Dr. Lawson in The Edge o' Beyond at the Garrick, the following year Sir Seymour Hicks appeared in his own play, The Man in Dress Clothes.
In 1925 Henry Daniell played there as Jack Race in Cobra and appeared there again as Paul Cortot in Marriage by Purchase in March 1932. A proposed redevelopment of Covent Garden by the GLC in 1968 saw the theatre under threat, together with the nearby Vaudeville, Adelphi and Duchess theatres. An active campaign by Equity, the Musicians' Union, theatre owners under the auspices of the Save London Theatres Campaign led to the abandonment of the scheme; the gold-leaf auditorium was restored in 1986 by the stage designer Carl Toms, in 1997 the front façade was renovated. The theatre has been associated with comedies or comedy-dramas. More recent productions are listed below and include No Sex Please, We're British, which played for four years at the theatre before transferring to the Duchess Theatre in 1986. In 1995, the Royal National Theatre's multi-award-winning production of J. B. Priestley's An Inspector Calls opened here, having played successful seasons at the Royal National Theatre's Lyttelton and Olivier theatres as well as the Aldwych Theatre and a season on Broadway.
In 1986, the Garrick was acquired by the Stoll Moss Group, in 2000 it became a Really Useful Theatre when Andrew Lloyd Webber's Really Useful Group and Bridgepoint Capital purchased Stoll Moss Theatres Ltd. In October 2005, Nica Burns and Max Weitzenhoffer purchased the Garrick Theatre, it became one of five playhouses operating under their company name of Nimax Theatres Ltd, alongside the Lyric Theatre, Apollo Theatre, Vaudeville Theatre and Duchess Theatre; the interior retains many of its original features, was Grade II* listed by English Heritage in September 1960. 1890 – A Pair of Spectacles by Sydney Grundy 1895 – The Notorious Mrs. Ebbsmith, starring Mrs Patrick Campbell 1902 – Water Babies, an adaptation by Rutland Barrington of Charles Kingsley's novel, with music by Alfred Cellier and others. 1924 – The Rat, written by and starring Ivor Novello 1947 – Laurence Olivier directed Jack Buchanan in Born Yesterday 1955 – La Plume de Ma Tante ran to 1957 1960 – Lionel Bart's Fings Ain't Wot They Used T'Be began a two-year run with Miriam Karlin 1967 – Brian Rix presented and appeared in Stand By Your Bedouin, the first in several seasons of farces, including Uproar in the House and Let Sleeping Wives Lie 1971 – The last of these farces was Don't Just Lie There, Say Something!
1972 – Anthony Shaffer's Sleuth transferred 1977 – Side By Side By Sondheim transferred and was a continuing success. 1978 – Ira Levin's thriller Deathtrap began a long run until 1981 1982 – No Sex Please, We're British transferred from the Strand Theatre and remained until 1986 1995 – An Inspector Calls began its second prolonged West End season 2002 – This is Our Youth played two seasons 2009 – A Little Night Music played until 2011 2011 – Chicago transferred from the Cambridge Theatre. Official Garrick Theatre Website Article on Garrick Theatre Information about the Garrick and other Victorian theatres