‘The theatre for all’

Given Huntly Carter’s prolific career, it would be expected that his impact would be seen in the writings and production aesthetics emerging from Britain’s small group of experimental, politically-active theatres. However, Carter’s influence seems surprisingly limited. This article unpacks the reason for this by examining the work of Ewan MacColl and Joan Littlewood’s theatre companies: the Red Megaphones, Theatre of Action, Theatre Union, and Theatre Workshop. Even though Carter wrote extensively about subjects of interest to these companies, there is no definitive evidence of influence. Rather, they looked to another theatre writer, Léon Moussinac. This paper draws attention to Carter’s absence through a comparison with the tangible inspiration of Moussinac. In so doing it reappraises Carter’s work in relation to performance practice, reimagining the books not only as textual descriptions but as (albeit unrealised) material for theatrical experimentation

Political theatre · Politics · Theatre studies · Samuel Beckett and Modernism · Theater, Performance, and Music History · Theatre and Performance Studies