Howard Brenton

The Romans in Britain

A riveting political thriller based on the arrest and imprisonment of one of China's leading dissident artists.

The Arrest of Ai Weiwei

#aiww

Howard Brenton's Lawrence After Arabia explores the afterlife of a legend, when being a hero has become a burden, and the man once celebrated as Lawrence of Arabia wants only to be normal once more. August, 1922. The most famous man in England has vanished without a trace: T.E. Lawrence has completely disappeared. But in the idyllic calm of the village of Ayot St Lawrence, on the top floor of the home of Mr and Mrs Bernard Shaw, the 'uncrowned King of Arabia' is hiding - with slabs of homemade carrot cake for comfort. Wearied by his romanticised persona and worldwide fame, disgusted with his country and himself, Lawrence is craving normality. But when you're a brilliant archaeologist, scholar, linguist, writer and diplomat - as well as a legendary desert warrior - how can you ever be normal? And beyond the Shaws' garden wall, nobody cares how he feels: England just wants its hero back. Can he ever return? Howard Brenton's Lawrence After Arabia, commissioned to mark the centenary of the start of the Arab revolt, finds Lawrence trapped in his love/hate relationship with the limelight, tormented by ghosts and haunted by broken promises. It premiered at Hampstead Theatre, London, in 2016, directed by John Dove.

Lawrence After Arabia

August Strindberg

A gripping new version of Strindberg's masterly, darkly hilarious depiction of the struggles and strains of marriage. Meet Edgar and Alice. Married for almost thirty years, theirs is a relationship of mutual explosive loathing. Strindberg's tale paints a compelling and bitterly funny portrait of a magnificently doomed couple, whose ongoing battle threatens not only their future, but that of their friends and children as well. Howard Brenton's new version of Dances of Death includes both Part One and the rarely performed Part Two of this masterpiece of European theatre, condensed into a single two-act drama. The play premiered at the Gate Theatre, London, in May 2013. "Ferociously intense... a howl of primitive power." - The Times "A particularly excoriating exercise in psychological warfare... remarkable." - Telegraph "A blistering account of a mildewed marriage." - Whatsonstage.com "Howard Brenton has worked wonders... this fresh and exciting new version demands to be seen." - British Theatre Guide Howard Brenton is a prolific playwright whose plays have been staged at the Royal Court Theatre, National Theatre, RSC and Shakespeare's Globe among others. Other writing work includes collaborations with David Hare and thirteen episodes of the BBC1 drama series Spooks.

Dances of Death

A portrait of a fundamentally decent human being, Harold Macmillan, caught up in power politics.

Never So Good

These five short plays date from Brenton's early involvement in such 'shoestring' groups as Portable Theatre. They are deliberately intended for the 'poor theatre' - as relevant today as when they were first written - since each play requires a small cast and minimal set, yet yields maximum theatricality. Christie in Love, Gum and Goo, Heads and The Education of Skinny Spew, were all first staged in 1969. The Saliva Milkshake was first staged in 1975.

The Saliva Milkshake; Christie in Love; Heads; Skinny Spew; Gum and Goo

Plays For The Poor Theatre

A dead German soldier, resurrected, describes his experiences during World War II

Hitler Dances

Howard Brenton is one of Britain's best-known and most controversial dramatists The Romans in Britain was the play that brought calls to bring back censorship when it was first staged at the National in 1980. It conjures up "an era that is culturally as well as historically remote which is a notoriously difficult task, but Mr Brenton acheives it with great skill and effect...a very good play indeed." In The Thirteenth Night: "He sets the characters of Shakespeare to find the elements in the British character which could transform an Englishman into a Stalin, and closes in on his creation with an overall wit to match his horror" (The Times). The Genius "is teeming with memorable stage pictures, and bristling with Brenton's very best writing: flinty, impassioned, explosive" (Financial Times). In Bloody Poetry "Brenton is doing something markedly ambitious in this phantasmagoric play. He is celebrating the idea of the committed artist who seeks to stir and provoke sullen, defeated bourgeois England. At the same time, with clear-eyed honesty, he shows how difficult it is to upset the moral order" (The Guardian). Greenland is "on the one hand a cry of disillusionment with established political forms, on the other it is full of typically lively Brentonesque satire and lampoons...Brenton's message is a welcome antidote to the madness in which we all now seem to be living and a sharp blast against patriarchy as well as other attendant woes" (City Limits).

The Romans in Britain; Thirteenth Night; The Genius; Bloody Poetry; Greenland

Brenton Plays: 2

David Hare

The press and politicians. A delicate relationship. Too close, and danger ensues. Too far apart, and democracy itself cannot function. Pravda (which means "truth") is a satire written at the height of Thatcherism when huge political changes were afoot. The play essentially studies, through black humour and close scrutiny, the tabloid ethic and the media industry as a get-rich-quick-fix. In the programme for the original 1985 production of Pravda, Brenton wrote: "Pravda means 'the truth'. English newspapers aren't propaganda sheets. The question is, why do so many of them choose to behave as if they are?" The character of Lambert Le Roux is a South African newspaper tycoon and the owner of several companies, striding his way through the regional papers en route to Fleet Street. Turning broadsheets tabloid, dumbing down the message, and stretching the truth, Le Roux takes no prisoners as he manipulates politicians and creates a media monopoly out of a once-respected industry. Le Roux is bent on dominating England's press as he has elsewhere in the world. As we see Le Roux accomplish his aims, we see also how the press is not the organ of truth we like to think it is. The dissemination of the truth is no longer its primary goal under the 'Lambert Le Rouxs' of our world. What is important now is what sells. The play is an epic satire on the media in the Thatcher era; a morality tale about how Andrew, a young liberal journalist, finally succumbs to Le Roux, who makes him editor of a tabloid; and – allegedly – the play is a direct representation of Rupert Murdoch who, even in 1985, was a major force in media ownership. Howard Brenton's and David Hare's first collaboration since Brassneck in 1973, Pravda was premiered at the National Theatre in May 1985, starring Anthony Hopkins and directed by David Hare, and was awarded the London Standard Best Play Award, the City Limits Best Play Award, and the Plays and Players Best Play Award. This Modern Classics edition features an introduction by Philip Roberts, Emeritus Professor of Drama and Theatre Studies at the University of Leeds, and a foreword by Jonathan Church.

Pravda

This fascinating drama, staged to acclaim in London and New York, has in its cast of characters Lord Byron, Percy Bysshe Shelley, Mary Shelley and Claire Goodwin. The play is about radicalism artistic, political and more. Taking place in Italy, it concerns the characters' various ideas about radical politics and free love. Along the way, a number of serious questions are raised, not the least of which is why fervent radicals seem so often to be done in by their reprehensible characters. At the end of the play Byron attends the cremation of Shelley on the beach at Viareggio and delivers a stunning ovation over the pyre: "Burn him. Burn us all. A great big bloody beautiful fire."

Bloody Poetry

Tells the story of the rise and fall of the Bagley clan, in an imaginary Midalnds town in post-war Britain. Spanning nearly thirty years, it shows three generations of Bagleys involved in a panoramic saga of local political in-fighting, social climbing and corruption.

Brassneck

Georg Buchner

A revolutionary himself, George Büchner was 21 when he wrote the play in 1835, while hiding from the police. With its hair-raising on-rush of scenes and vivid dramatization of complex, visionary characters, Danton's Death has a claim to be the greatest political tragedy ever written. In his newly-revised translation, Howard Brenton captures Büchner's exhilarating energy as Danton struggles to avoid his inexorable fall. In 1794 the French Revolution reaches its climax. After a series of bloody purges the life-loving, volatile Danton is tormented by his part in the killing. His political rival, the driven, ascetic Robespierre, decides Danton's fate. A titanic struggle begins. Once friends who wanted to change the world, now one stands for compromise the other for ideological purity as the guillotine awaits. This is your rhetoric translated. These wretches, these executioners, the guillotine are your speeches come to life. You have built your doctrines out of human heads…Why should an event that transforms the whole of humanity not advance through blood?

Danton's Death

This is your rhetoric translated. These wretches, these executioners, the guillotine are your speeches come to life. You have built your doctrines out of human heads... Why should an event that transforms the whole of humanity not advance through blood? 1794: the French Revolution reaches its climax. After a series of bloody purges the life-loving, volatile Danton is tormented by his part in the killing. His political rival, the driven, ascetic Robespierre, decides Danton's fate. A titanic struggle begins. Once friends who wanted to change the world, now one stands for compromise the other for ideological purity as the guillotine awaits. A revolutionary himself, George BÃ¼chner was 21 when he wrote the play in 1835, while hiding from the police. With its hair-raising on-rush of scenes and vivid dramatisation of complex, visionary characters, Danton's Death has a claim to be the greatest political tragedy ever written. In his newly-revised translation, Howard Brenton captures BÃ¼chner's exhilarating energy as Danton struggles to avoid his inexorable fall.

& Sonnets of Love and Opposition

Sore Throats

I loathe us, I loathe our stupid puerile view of the world ... That we have only to do it, that we have only to go puff, and the monster buildings will go splat ... London, the early 70s. Poverty, homelessness, rising inequality, unemployment, industrial disputes. Five young activists squat a disused building and try to make a stand against it all. Fired up by left-wing idealism, but short on pragmatism, they discover that the revolution may be a long time coming and when the protest leads to tragedy, some of them are driven to more violent methods. Meanwhile, two Tory MPs meet for a quiet chat to pass over the reins of power. Both epic and intimate, Howard Brenton's 1973 play Magnificence takes us from the grubby barracks of the revolutionary struggle to the heart of centre-right Tory politicking, creating a panoramic vision of Britain at a pivotal moment in history. Many of its themes remain burning issues today – police brutality, drug abuse, the deceptions of professional politicians, the social housing crisis and whether violence can ever be justified for political ends. Magnificence originally premiered at the Royal Court Theatre, London, in June 1973, directed by Max Stafford-Clark and with a cast that included Pete Postlethwaite, Kenneth Cranham, Michael Kitchen and Robert Eddison. This edition was published to coincide with the first professional London revival in over 40 years at the Finborough Theatre in October 2016.

Magnificence

Tariq Ali

A protest, in the form of a drama, against the banning of Salman Rushdies' Satanic Verses.

Iranian Nights

An intimate and at times savagely funny psychological study of two sisters, one of who has made her home in East Berlin and one who has stayed on in their native London. Fleeing from an encounter that has destroyed her marriage, Rosa Brine leaves Berlin in the wake of the downing of the Wall and seeks shelter with her sister Alice. But the sinister figure of 'Berlin Bertie' follows and finds her. A turbulent Easter weekend of explosive confrontations ends in an oddly comic kind of salvation. Howard Brenton's play Berlin Bertie was first performed at the Royal Court Theatre, London, in 1992.

Berlin Bertie

Andy de la Tour

Snogging Ken

First staged at London's National Theatre in 1980, having been commissioned by Peter Hall, The Romans in Britain contrasts Julius Caesar's Roman invasion of Celtic Britain with the Saxon invasion of Romano-Celtic Britain, and finally Britain's involvement in Northern Ireland during The Troubles of the late twentieth century. As these scenes bleed into one another, Brenton suggests what it might have been like for these people to meet. Three Roman soldiers sexually assault a young druid priest. A lone, wounded Saxon soldier stumbles into a field, a nightmare made real. An army intelligence officer begins to lose his mind in the Irish fields. Brenton's sinewy vernaculars summon a lost history of cultural collision and oppression, of fear and sorrow. This edition features an introduction by Philip Roberts, Emeritus Professor of Drama & Theatre Studies at the University of Leeds, and a foreword by director Sam West.

A celebration of a great English heroine, Anne Boleyn dramatises the life and legacy of Henry VIII's notorious second wife, who helped change the course of the nation's history.Traditionally seen as either the pawn of an ambitious family manoeuvred into the King's bed or as a predator manipulating her way to power, Anne - and her ghost - are seen in a very different light in Howard Brenton's epic play.Rummaging through the dead Queen Elizabeth's possessions upon coming to the throne in 1603, King James I finds alarming evidence that Anne was a religious conspirator, in love with Henry VIII but also with the most dangerous ideas of her day. She comes alive for him, a brilliant but reckless young woman confident in her sexuality, whose marriage and death transformed England for ever.

Howard Brenton

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