Peter Hoppenrath, Spring 2024
When discussing influential theatres that have influenced British culture, few spring to mind: the Globe Theatre, or Prince Albert’s Hall, or even the National Theatre. But through the many places to view the stage in England, one stands out in its everlasting sense for pushing the envelope: The Royal Court Theatre. Right in the heart of London, this monument to groundbreaking shows dates back to the time of Lord Chamberlain;s Office of Theatre Censorship. The Royal Court Theatre is a shining beacon of the arts in Britain, as has played host to several influential playwrights, such as Arthur Miller’s The Crucible, and has cemented itself as an innovative theater, constantly challenging the status quo.
Modernism in theater is defined as emphasizing a deep exploration into the human condition (Wilson, 2018), shown in plays like A Doll’s House by Henrik Ibsen and Waiting for Godot by Samuel Beckett. Roberts goes into extreme detail about modernism at the Royal Court Theatre and how shows produced on that stage influenced British culture and media. Roberts is no stranger to modern theater, as he has authored a number of studies on the subject, and was a professor of drama and theater studies at the University of Leeds. The Royal Court Theatre and the Modern Stage is a never before seen look into the deep history of modernism in British theater culture, with many of the sources being unused before this publication. Philip Roberts, the author, draws from previously untouched public and private collections, letters between specific actors and directors, and interviews with several of the key players of this time period, such as Matthew Evans, Oscar Lewenstein, and Max Stafford-Clark (who was ousted from his position as artistic director at the Royal Court Theatre in 2017 due to inappropriate comments) (Clement, 2017).
The sources gathered also paint a picture of the daring moves taken by the Theatre, usually to the detriment of the actors and staff. One specific document from 1971 comes from Detective Inspector P. Griggs, who wrote up a report on a firearms certificate being issued to the building for the shows being produced. Griggs is quite fast to his point, mentioning the lack of a proper test with the props department to make a mock weapon to be used on stage, and more damning, an incident occurring in 1968. The production at the time was using a live firearm during its staging, and while the weapon was being handled, quote, “...the revolver was not returned to the safe in which it should have been stored…demonstrat[ing] that the theatre staff had a somewhat casual approach to the storage of lethal weapons.” (Griggs, 1971) This report was the first glimpse into how the attitude of the managers, producers, actors, and stage hands haven’t changed in over a century. There is, of course, detriment in not properly handling weapons, and there should always be extreme safety implemented in order to maintain order, however the actions here speak to a level of devotion and pride that they still have to The Royal Court Theatre and that signifies volumes of better knowledge. The second source comes directly from the theatre itself, with their history tab being an overview of the impactful history within their walls, especially during the 60’s. The theatre gained international acclaim during this time and the tenure of director Joan Littlewood. Under her leadership, the Royal Court became a hub for groundbreaking and provocative plays, fostering the works of emerging playwrights such as John Osborne, Arnold Wesker, and Shelagh Delaney. This clashed heavily with Lord Chamberlain's Office, the London commission that approves stage productions. This conflict was desperately needed, due to the Office being in power since the 1800’s, and ultimately led to the abolishment of said Office in 1968 (Royal Court Theatre).
Today, the Royal Court Theatre continues to be a vital institution in the London theatre scene, staging bold and innovative productions that challenge audiences and provoke thought. It remains a beacon for new talent and artistic experimentation, upholding its legacy as a bastion of cutting-edge theatre.
Bibliography
Clement, Olivia. 2017. “British Theatre Director Faces Allegations of Inappropriate Behavior.” Playbill. October 20, 2017. https://playbill.com/article/british-theatre-director-faces-allegations-of-inappropriate-behavior.
Griggs, P. (1971, January 27). Application for various Firearms Certificates . London; Metropolitan Police, Chelsea Station.
Roberts, Philip. 1999. The Royal Court Theatre and the Modern Stage. Cambridge: Cambridge University Press.
Royal Court Theatre. n.d. "History - Royal Court". Royalcourttheatre. Accessed 01 May. 2024. https://royalcourttheatre.com/about/history/.
Wilson, Edwin, Alvin Goldfarb, and W. W. Norton & Company. 2018. Living Theatre : A History. New York ; London: W.W. Norton & Company, Copyright.
Acknowledgements
Thank you to the Honors College for providing the trip and support needed to complete this research. I'd also like to thank Mr. Reagan Grimsley and Mr. Charlie Gibbons for giving me the tools needed to properly approach this project.
