Edward Bond by David L. Hirst (auth.)

By David L. Hirst (auth.)

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34) Bond was to be this new voice and there is a resemblance between his explosion onto the theatrical scene and that of Osborne ten years previously. Saved - the play which was to produce every bit as much controversy as Look Back In Anger - was a far cry from the drama by then associated with the Court. Like Look Back In Anger it was produced in repertory with other plays expected to please the new middle class audience and support the risky venture of mounting a radically different piece by an unknown writer.

She created the role of Hecuba in The Woman and that of Marthe in Summer when the play was premiered on the Cottesloe stage of the National Theatre on 27th January 1982. Bond will no doubt continue to explore a wide variety of theatrical possibilities both in terms of venues and techniques. In 1983 he completed another full-length epic play for the National Theatre: Human Cannon with a huge cast and a rich variety of scenes exploring the ethics of revolution during the Spanish Civil War. His collaboration with Henze - developed in the writing of a scenario for a ballet Orpheus performed by the Stuttgart Ballet Company in 1979 - more recently resulted in another music theatre piece The Cat performed (under the title of The English Cat) by the Stuttgart Staatsoper in 1983.

If they did, we have to say that they don't understand either ... I think many would say with regret that the Court has ambled on and off for years, usually dragging in an audience when they put on a play that appealed to the Edwardian taste that passes for culture in the London press; or when it appealed directly to a rigidly defined social subsection, who would not support it when it changed its appeal to some other subsection. It does not - cannot - have a regular new audience because it has not dedicated itself to creating a radical new culture, one that will create a moral and practical consciousness appropriate to life in the last years of this century.

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