Monstrous Regiment Theatre Company is a British feminist theatre company established in 1975. Monstrous Regiment went on to produce and perform 30 major shows, in which the main focus was on women's lives and experiences. [1] Performer-led and collectively organised, its work figures prominently in studies of feminist theatre in Britain during the 1970s and 1980s. [2] No productions have been mounted since 1993, when financial support from the Arts Council of Great Britain was discontinued. [3]
The company's name referred ironically to the title of John Knox's sixteenth-century pamphlet, The First Blast of the Trumpet Against the Monstruous Regiment of Women . Reacting to what they saw as the marginal status and stereotypical depiction of women in both conventional and political theatre of the time, [4] its founding members decided to create a radical alternative that would provide serious opportunities for women as actors, writers, directors, designers and technicians. Amongst the founding members were three who were to remain actively involved throughout its history: Chris Bowler (until her death in May 2014), Gillian Hanna, and Mary McCusker. [5] Along with Katrina Duncan, they have constituted the directorial board of the (still extant) company since the early 1990s. [6] Men were not excluded from the company, but women were to predominate both on-stage and off-stage. [7]
With a commitment to promoting new writing, and to close collaboration with the writers it commissioned, Monstrous Regiment explored a variety of theatrical forms in its work, including epic theatre, cabaret, and performance art, and its productions ranged from large-scale ensemble pieces to one-woman shows. [8] Specially written live music was integral to many of them. [9] Despite its feminist (and socialist) political impetus, its work was essentially theatrical, rather than issue-based or agitprop in character. [10]
Along with other feminist companies such as the Women's Theatre Group, [11] Monstrous Regiment contributed to the broader development of alternative theatre that emerged in Britain in the post-1968 period, with a proliferation of new touring companies performing to new audiences. [12] The ongoing Unfinished Histories project provides a rich source of information about these companies, including Monstrous Regiment. [13] Together with the texts of four plays, an account of the company's development is presented in the editorial introduction to Monstrous Regiment: A Collective Celebration, [14] to which many of its members contributed.
The company's archives (including records of meetings, production photographs, posters and flyers, design sketches, and annotated scripts) are lodged with the Theatre and Performance Archives at the Victoria and Albert Museum; a complete online catalogue is now available. [15] They had previously been located in The Women's Library at the London School of Economics. An official Monstrous Regiment website was launched early in 2019, using this archive material to document and illustrate the history and achievements of the company. [16]
Monstrous Regiment may refer to:
Catherine Lenore Itzin, also known as Cathy Itzin, was a critic specialising in alternative theatre and later an advisor on women's issues.
Cherry Potter is a film writer, cultural commentator and psychotherapist.
Virago is a London-based British publishing company committed to publishing women's writing and books on feminist topics. Started and run by women in the 1970s and bolstered by the success of the Women's Liberation Movement (WLM), Virago has been credited as one of several British feminist presses that helped address inequitable gender dynamics in publishing. Unlike alternative, anti-capitalist publishing projects and zines coming out of feminist collectives and socialist circles, Virago branded itself as a commercial alternative to the male dominated publishing industry and sought to compete with mainstream international presses.
The Joint Stock Theatre Company was founded in London 1974 by David Hare, Max Stafford-Clark Paul Kember and David Aukin. The director William Gaskill was also part of the company. It was primarily a company which presented new plays.
Vinegar Tom is a 1976 play by the British playwright Caryl Churchill. The play examines gender and power relationships through the lens of 17th-century witchcraft trials in England. The script employs features of the epic theater associated with German playwright Bertolt Brecht, particularly with its realistic use of songs as well as the added anachronism of the actors, who performed the songs in modern dress, despite the fact that the play was set in the 17th century. There were seven songs and twenty-one scenes. The play's title comes from the name of one character's pet cat, supposed to be her familiar spirit, likely inspired by the supposed imp of one Elizabeth Clarke, a woman tried and executed for witchcraft in Essex in 1645. The play was inspired by the Women's Rights Act in 1970 and explored the thought that women were treated unequally to men in England, both at the time in which the play takes place, and the time in which the play was written.
Michèle Brigitte Roberts is a British writer, novelist and poet. She is the daughter of a French Catholic teacher mother and English Protestant father, and has dual UK–France nationality.
Michelene Dinah Wandor, known from 1963 to at least 1979 as Michelene Victor, is an English playwright, critic, broadcaster, poet, lecturer, and musician.
Rev Dr Jane de Gay is a British academic and lecturer who has earned a reputation as an expert on the life and works of Virginia Woolf. Dr de Gay's works on Woolf include a series of articles and a 2006 book, Virginia Woolf's Novels and the Literary Past, published by Edinburgh University Press. Her work has been recognised by the Virginia Woolf Society of Great Britain. She has co-edited four books on gender and theatre, including Languages of Theatre Shaped by Women.
Clare Rosamund Venables was an English theatre director. She was artistic director of regional theatres in Lincoln, Stratford East (London), and Sheffield; she became Director of Education at the Royal Shakespeare Company, and she also directed a number of operas.
Trafford Tanzi is a play by Clare Luckham. It was originally performed as Tuebrook Tanzi, The Venus Flytrap by the Everyman Theatre Company in Liverpool in 1978 before moving to Manchester as Trafford Tanzi in 1980, later achieving commercial success in London.
Lizbeth Goodman is the Chair of Creative Technology Innovation and founder director of the SMARTlab Digital Media Institute and the MAGIC Multimedia & Games Innovation Centre, formerly at the University of East London, England, and elsewhere, now at University College Dublin in Dublin, Ireland.
The Almost Free Theatre was an alternative and fringe theatre set up by American actor and social activist E. D. Berman in 1971 in Rupert Street, Soho, London.
Lois Weaver is a Guggenheim-winning artist, activist, writer, director, and Professor of Contemporary Performance at Queen Mary University of London. She is currently a Wellcome Trust Fellow in Engaging Science. Her work centers on feminism, human rights and possibilities for public participation. Active for over four decades she is the founding member of significant New York theatre companies Spiderwoman (1975), Split Britches (1980) and WOW (1980). Weaver came to London to take on the role of artistic director for Gay Sweatshop Theatre Company in 1992. She lives in New York and London.
Scarlet Harlets was a women's theatre company based in London in the 1980s; it later changed its name to Scarlet Theatre. The company created physical theatre productions through a process of collaboration between the actors, the scriptwriter or translator, and the director.
Nancy Diuguid was an American theater director, who lived and worked in England and South Africa.
Jill Posener is a British photographer and playwright, known for her exploration of lesbian identity and erotica.
Gillian Hanna was an Irish stage, film, TV and voice actress. She founded the feminist Monstrous Regiment Theatre Company about which she wrote a book that was published in 1991.
Feminist theater grew out of the wider Political theater of the 1970s, and continues to the present. It can take on a variety of meanings, but the constant thread is the lived experience of women.
Jenny McLeod is a British playwright. McLeod grew up in Nottingham. She started writing plays in the middle of her A Levels after seeing an advertisement in a local paper. Her play Cricket at Camp David won the Writing 87 workshop, and she went on to write Island Life for Monstrous Regiment Theatre Company. In 1991–2 she was writer-in-residence at the Nottingham Playhouse in 1991–1992. After winning a bursary from Thames Television, she was in residence at the Tricycle Theatre in 1995.