This is the third part of Steve Nicholson's four-volume analysis of British theatre censorship from 1900 until 1968, based on previously undocumented material in the Lord Chamberlain's Correspondence Archives in the British Library and the Royal Archives at Windsor.
Focusing on plays we know, plays we have forgotten, and plays which were silenced for ever, Censorship of British Drama demonstrates the extent to which censorship shaped the theatre voices of this decade.
The book charts the early struggles with Royal Court writers such as John Osborne and with Joan Littlewood and Theatre Workshop; the stand offs with Samuel Beckett and with leading American dramatists; the Lord Chamberlain's determination to keep homosexuality off the stage, which turned him into a laughing stock when he was unable to prevent a private theatre club in London's West End from staging a series of American plays he had banned, including Arthur Miller's A View from the Bridge and Tennessee Williams's Cat on a Hot Tin Roof; and the Lord Chamberlain's attempts to persuade the government to give him new powers and to rewrite the law.
Steve Nicholson is Professor of 20th-Century and Contemporary Theatre, and Director of Drama, in the School of English at the University of Sheffield. He is the series editor for Exeter Performance Studies and the author of British Theatre and the Red Peril: The Portrayal of Communism, 1917-1945, also published by UEP.
Acknowledgements Introduction: 'That Happy State' 1. Censorship in a Golden Age 2. 'Packed with Nancies': Homosexuality and the Stage (I) 3. Breaking the Rules, Breaking the Lord Chamberlain: Unlicensed Plays in the West End 4. Speaking the Unspoken: Homosexuality and the Stage (II) 5. Not Always on Top: The Lord Chamberlain's Office and the New Wave 6. Dirty Business: Sex, Religion and International Politics 7. The Tearing Down of Everything: Class, Politics and Aunt Edna Afterword Biographies of the principal people working for the Lord Chamberlain's Office Notes Select Bibliography Index