This book asserts the extraordinary quality of mid-twentieth century playwright Terence Rattigan’s dramatic art and its basis in his use of subtext, implication, and understatement. By discussing every play in chronological order, the book also articulates the trajectory of Rattigan’s darkening vision of the human potential for happiness from his earlier comedies through his final plays in which death appears as a longed for peace. New here is the exploration through close analysis of Rattigan’s style of writing dialogue and speeches, and how that style expresses Rattigan’s sense of life. Likewise, the book newly examines how Rattigan draws on sources in Greek and Roman history, literature, and myth, as well as how he invites comparison with the work of other playwrights, especially Bernard Shaw and Shakespeare. It will appeal broadly to college and university students studying dramatic literature, but also and especially to actors and directors, and the play-going, play-reading public.

Terence Rattigan examines the ways in which Rattigan's works turn audiences into participants, encouraging intellectual independence and freeing them to decide for themselves the deeper meanings of the works. It examines the unique methods by which he conveys meaning to audiences within a changing sociocultural context.

This book asserts the extraordinary quality of mid-twentieth century playwright Terence Rattigan’s dramatic art and its basis in his use of subtext, implication, and understatement. By discussing every play in chronological order, the book also articulates the trajectory of Rattigan’s darkening vision of the human potential for happiness from his earlier comedies through his final plays in which death appears as a longed for peace. New here is the exploration through close analysis of Rattigan’s style of writing dialogue and speeches, and how that style expresses Rattigan’s sense of life. Likewise, the book newly examines how Rattigan draws on sources in Greek and Roman history, literature, and myth, as well as how he invites comparison with the work of other playwrights, especially Bernard Shaw and Shakespeare. It will appeal broadly to college and university students studying dramatic literature, but also and especially to actors and directors, and the play-going, play-reading public.

THE STORY: What begins as a small incident ultimately grows into a cause celebre nearly shaking the foundations of the government. The incident is simply that of a youngster in an English government school who is expelled for an alleged theft. As

Terence Rattigan's 'Cause Célèbre' is a drama based on the real-life story of Alma Rattenbury, who in 1935 went on trial with her eighteen-year-old lover for the murder of her husband. Rattigan originally wrote the play for radio, broadcast on BBC Radio 4 on 27 October 1975.

The theatrical world Terence Rattigan built is vital but disturbing and uniquely constructed. His sentences are not impacted or fractured, and his plots usually obey a linear time sequence. Yet his realism isn't all that real. Though sentence by sentence, his dialogue sounds natural, the creative pulse behind it is idiosyncratic and self-lacerating. As a gay man writing at a time when homosexuality was a felony in the UK, Rattigan wrote at a skewed angle to his culture, making his plays at times easy to follow but hard to fathom. Terence Rattigan: The Playwright as Battlefield examines the ways in which Rattigan’s works turn their audiences into participants, encouraging intellectual independence and freeing them to make decisions for themselves as to the deeper meanings of the works. The playwright’s omission of outright explanations deepens the audience’s emotional commitment to the outcomes of the performance, and walks a fine line between restraint and invention. His works convey subtly and deceptively the cold obstinacy that thwarts our everyday actions in a way which that is felt viscerally by the audience. This book engages works from throughout Rattigan’s early and late career to examine the unique methods by which the playwright conveys meaning to various audiences within an ever-changing sociocultural context.

Rattigan's well-loved play about an unpopular schoolmaster who snatches a last shred of dignity from the collapse of his career and his marriage. Twice filmed (with Michael Redgrave and Albert Finney) and frequently revived. Andrew Crocker-Harris' wife Millie has become embittered and fatigued by her husband's lack of passion and ambition. On the verge of retirement, and divorce, Andrew is forced to come to terms with the platitude his life has become. Then John Taplow, a previously unnoticed pupil, gives Andrew an unexpected parting gift: a second-hand copy of Robert Browning's translation of Agamemnon - a gift which offers not only a opportunity for redemption, but the chance to gain back some dignity. This volume also contains Harlequinade, a farce about a touring theatre troupe, written to accompany The Browning Version in a double-bill under the joint title, Playbill. 'Few dramatists of this century have written with more understanding of the human heart than Terence Rattigan' Michael Billington This edition includes an authoritative introduction, biographical sketch and chronology.

At the Miramar, a villa in a small seaside town on the west coast of France, a group of young men have gathered, ostensibly to learn French. Diana Lake proves a major distraction, manipulating the affections of one after another.Written in 1936.

At the height of the Great Depression, ruthless financier Gregor Antonescu's business is dangerously close to crumbling. In order to escape the wolves at his door, Gregor tracks down his estranged son Basil in the hopes of using his Greenwich Village apartment as a base to make a company-saving deal. Can this reunion help them reconcile? Or will this corrupt father use his only son as a pawn in one last power play? A gripping story about family, success and what we're willing to sacrifice for both.

The critically acclaimed drama by one of England's most successful mid-century playwrights.