Arthur Miller (1915–2005).

Pat Yarker

Fifteen years ago I went to see a production of Arthur Miller’s “The Price” at the Young Vic Theatre in London, where David Thacker was directing a number of Miller’s plays. At a time when Miller seemed to have been sidelined in his own country, his importance as a playwright of international standing was re-asserted on the English stage.

Defend free speech

The Birmingham Repertory Theatre’s shameful decision before Christmas to cancel the play Behzti (Dishonour) was justified in the following way by Executive Director Stuart Rogers: “[Sikh] community leaders have been unable to guarantee to us that there will be no repeat of illegal and violent activities… we cannot guarantee the safety of our audiences… [W]e have decided to end the current run of the play on security grounds.”

The writing on the wall

  • Going bust for an education
  • We don't want your vote
  • BNP's new Euro-bigots
  • 'Left-wing' xenophobia
  • Bridges to nowhere

Going bust for an education

A record number of people are expected to declare themselves bankrupt this summer. Many of them will be students trying to get rid of their credit card, student loan and other debts. According to the Department for Education and Skills, 899 students and graduates became insolvent last year, compared with 276 in 2002.


by Mehrdad Seyf, performed recently at the Riverside Studios

The 'majnoun' of the title is mad with love, and refers to an Iranian story something like 'Romeo and Juliet'. The play is about an Iranian woman living in Britain who has to make up her mind who to marry, her English fiancé or an Iranian friend. The play would appeal most to British and Iranian people who are in a British-Iranian relationship: regrettably, of limited appeal then!

His Dark Materials

two plays adapted from books by Philip Pullman, and directed by Nicholas Hytner, showing at the National Theatre, London

His Dark Materials is a trilogy of novels. It was considered too complex for adaptation to the stage by some directors. That the National Theatre rose to such a challenge makes you wish them success, especially after they had to face down religious zealots in the teaching profession who denounced the production before it even opened. However, despite some excellent performances, and some truly magical staging and effects, the six-hour epic doesn't quite carry the power of the books.