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The Limited Naturalism of Arthur Pinero
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WHEN THE NAME of Sir Arthur Pinero arises in discussion today, one thinks of this or that recent revival of The Magistrate or Trelawny of the "Wells," that charming little period piece which captures so well the language and spirit of the London stage in Tom Robertson's pioneer days. Pinero's triumphs of his major period (1893—1909), his "daring" forays into the new territory of naturalistic domestic drama, are all but forgotten. It is to be hoped that one day television will be the vehicle by which the better of these plays — The Thunderbolt, Iris, His House in Order, for example — will be resurrected for devotees of the Victorian theatre. Certainly it is regrettable that Pinero revivals are invariably confined to such "safe" but innocuous offerings as the first of his Royal Court farces and the sentimental story of Rose Trelawny.
Title: The Limited Naturalism of Arthur Pinero
Description:
WHEN THE NAME of Sir Arthur Pinero arises in discussion today, one thinks of this or that recent revival of The Magistrate or Trelawny of the "Wells," that charming little period piece which captures so well the language and spirit of the London stage in Tom Robertson's pioneer days.
Pinero's triumphs of his major period (1893—1909), his "daring" forays into the new territory of naturalistic domestic drama, are all but forgotten.
It is to be hoped that one day television will be the vehicle by which the better of these plays — The Thunderbolt, Iris, His House in Order, for example — will be resurrected for devotees of the Victorian theatre.
Certainly it is regrettable that Pinero revivals are invariably confined to such "safe" but innocuous offerings as the first of his Royal Court farces and the sentimental story of Rose Trelawny.
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