Censoring the uncensored: The case of 'children in uniform'

New Theatre Quarterly

Volumn 16, Issue 3, 2000, Pages 219-226

  Deeney, John F ^a  

^a UNIVERSITY OF ULSTER   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 63649087012     PISSN: 0266464X     EISSN: None     Source Type: Journal    
DOI: 10.1017/s0266464x00013853     Document Type: Article

References (36)

1. J. P. Wearing, The London Stage, 1930-1939 (Metuchen, New Jersey: Scarecrow Press, 1990), records that the production ran from 7 October 1932 to 27 May 1933 - a total of 263 performances
2. See Maggie B. Gale, West End Women: Women and the London Stage, 1918-1962 (London: Routledge, 1996)
3. Mädchen in Uniform (1931), directed by Leontine Sagan, screenplay by Christa Winsloe and F. D. Andam, produced by Carl Froelich. Froelich was the director of Deutsches Filmgesellschaft (German Film Association), a collective he had established
4. Loren Kruger, ed., Lights and Shadows: the Autobiography of Leontine Sagan (Johannesburg: Witwaterstand University Press, 1996), p. xix, 233
5. Richard Dyer, Now You See It: Studies in Lesbian and Gay Film (London: Routledge, 1990)
6. Elaine Marks, 'Lesbian Intertextuality', in Homosexualities and French Literature, ed. George Strambolin and Elaine Marks (Ithaca, New York: Cornell University Press, 1979), p. 357-8
7. quoted in B. Ruby Rich, 'From Repressive Tolerance to Erotic Liberation: Mädchen in Uniform', in Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture, ed. Corey K. Creekmur and Alexander Doty (London: Cassell, 1995), p. 137-66
8. Rich, 'From Repressive Tolerance to Erotic Liberation', p. 151
9. In 1933 Sagan took a touring production of Children in Uniform to South Africa, produced by the London based 'Theatrical Variety Co., Ltd.' (see Kruger, Lights and Shadows, p. 128-38)
10. The play was also produced as Girls in Uniform in the USA on Broadway and at the Blackstone Theatre, Chicago, in March 1933: see Rich, 'From Repressive Tolerance to Erotic Liberation', p. 164
11. The public production of plays had been controlled by the Lord Chamberlain since 1737. His powers were revoked in 1968 by the Theatres Act. The Chamberlain not only had the power to deny a licence, he could also demand editing
12. Lord Chamberlain's Correspondence Papers of Licensed and Unlicensed Plays (LCP Corr.), file on Children in Uniform (1932/11437). The papers are housed in the Manuscript Section of the British Library; they contain applications, readers' reports, letters, memoranda, etc
13. LCP Corr., Children in Uniform
14. Alan Sinfield, 'Private Lives/Public Theater: Noël Coward and the Politics of Homosexual Representation', Representations, No. 36 (1991), p. 43-63
15. J. T. Grein, Illustrated London News, 29 October 1932
16. Christa Winsloe, trans. Barbara Burnham, Children in Uniform, in Famous Plays of 1932-1933 (London: Gollancz, 1933), p. 19
17. Peter Burnup, Sunday Referee, 9 October 1932
18. A. E. Wilson, unreferenced clipping
19. Steve Nicholson, 'Unnecessary Plays: European Drama and the British Censor in the 1920s', Theatre Research International, XX, No. 1, p. 30-36
20. Grein, Illustrated London News
21. Jill Dolan, 'Lesbian Subjectivity in Realism: Dragging at the Margins of Structure and Ideology', in Performing Feminisms: Feminist Critical Theory and Theatre, ed. Sue-Ellen Case (Baltimore: Johns Hopkins University Press, 1990), p. 40-53
22. Catherine Belsey, 'Constructing the Subject: Deconstructing the Text', in Feminist Criticism and Social Change: Sex, Class, and Race in Literature and Culture, ed. Judith Newton and Deborah Rosenfelt (New York: Methuen, 1985), p. 53
23. quoted in Sheila Stowell, 'Rehabilitating Realism', Journal of Dramatic Theory and Criticism, VI, No. 2 (1992), p. 81-88
24. Stowell, 'Rehabilitating Realism', p. 86
25. Gale, West End Women, p. 126
26. Nicky Hallett, Lesbian Lives: Identity and Auto/ Biography in the Twentieth Century (London: Pluto Press, 1999), p. 33
27. Edward W. Said, Orientalism (London: Routledge, 1978), p. 253, quoted in Hallett, Lesbian Lives
28. Lillian Hellman, The Children's Hour (New York: Dramatists Play Service, 1981)
29. See Norman Marshall, The Other Theatre (London: John Lehmann, 1947). Marshall also produced Children in Uniform at the Gate
30. For example, see Dolan, 'Lesbian Subjectivity in Realism', and Lynda Hart, 'Canonizing Lesbians?', in Modern American Drama: the Female Canon, ed. June Schlueter (Cranbury, New Jersey: Associated University Presses, 1990). In 1994-95, The Children's Hour had a critically successful production at the Royal National Theatre in London
31. For example, see Nicholas de Jongh, Not in Front of the Audience: Homosexuality on Stage (London: Routledge, 1992)
32. Sean O'Connor, Straight Acting: Popular Gay Drama from Wilde to Rattigan (London: Cassell, 1998)
33. Dan Rebellato, 1956 and All That: the Making of Modern British Drama (London: Routledge, 1999)
34. Sandra Freeman, Putting Your Daughters on the Stage: Lesbian Theatre from the 1970s to the 1990s (London: Cassell, 1997)
35. Terry Castle, Noël Coward and Radclyffe Hall: Kindred Spirits (New York: Columbia University Press, 1996)
36. Hallett, Lesbian Lives, p. 32