Portal de Periódicos da CAPES

Humble Boy, and: Nightingale and Chase (review)

2002; Johns Hopkins University Press; Volume: 54; Issue: 3 Linguagem: Inglês

10.1353/tj.2002.0072

1086-332X

William C. Boles,

Theatre and Performance Studies

During the mid-1990s, newspaper critics trumpeted a second renaissance of British writing because of the critical, commercial, and media generating successes of Sarah Kane, Martin McDonagh, Patrick Marber, Conor McPherson, Joe Penhall, and Mark Ravenhill. While these six received the focus of the media's praise and glare, especially in the case of Kane, theatrical inroads were also being made by more than twenty-five other young writers, including Samuel Adamson, David Eldridge, Judy Upton, Phyllis Nagy, and Simon Bent. The prominence of new plays by young writers though was not merely a blip. Instead, almost a decade later, the pool of burgeoning writers is still fresh and expanding. Two of the more recent notable additions to the fold are Charlotte Jones, who [End Page 482] gained notice for Martha, Josie and the Chinese Elvis and Zinnie Harris, whose Further than the Furthest Thing caught the eye of many. During the fall of the 2001 London theatre season, both Jones and Harris had their, to date, most prominent productions.