Howard Brenton: Portable Theatre and the Fringe
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Of all the new playwrights, Howard Brenton is the one to have been most embraced by the subsidised theatre, and yet it is an embrace full of paradox. His work has been consistently successful at the box-office, but it has been greeted with a degree of critical abuse that has only intensified as it has become increasingly well known. His ambiguous acceptance by the theatrical establishment has allowed him to utilise the facilities of the large theatres in a move towards a reformulation of ‘epic theatre’, but he has never ceased to question the point of the exercise.
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