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: 29/10/1990


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: 6/11/1978

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1958 John Gielgud

 Evening Standard Drama Award. 1959,

(Drama Critics Award).
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: (Tony Award for Best Play)
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: 25/3/1985

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: 30/12/1985

1895.
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He was born into a bourgeois family and studied law. At the age of twenty, he contributed a short story to
Cherubin magazine, entitled Les plus belles sont les plus fausses.
A few others followed , but failed to catch the attention of the public. He tried his hand at dramatic criticism in
the Revue des theatres and in 1838, wrote and premiered two plays.

The small Theatre du Pantheon produced, to some popular success, his drama L'Avocat Loubet, while a
vaudeville, Monsieur de Coyllin ou l'homme infiniment poli (written in collaboration with Marc Michel and
performed at the Palais Royal) introduced a provincial actor who was to become and to remain a great
Parisian favourite, Grassot, the famous comedian.

In the same year Labiche, still doubtful about his true vocation, published a romance called La Cle des
champs.

According to Leon Halevy, Labiche's publisher went bankrupt soon after the novel was out: "A lucky
misadventure, for this timely warning of Destiny sent him back to the stage, where a career of success was
awaiting him." There was yet another obstacle in the way. When he married, Labiche solemnly promised his
wife's parents that he would renounce a profession then considered incompatible with moral regularity and
domestic happiness. A year later, his wife released him from his vow, and Labiche recalled the incident when
he dedicated the first edition of his complete works to her.

In conjunction with Varin, Marc Michel, Louis Francois Clairville, Philippe Francois Dumanoir, and others, he
contributed comic plays interspersed with couplets to various Paris theatres. He was considered a successful
but undistinguished vaudevillist until the success of his five-act farce, Un Chapeau de paille d'Italie (The
Italian Straw Hat) in August 1851. It is an accomplished specimen of the French imbroglio-style play, in which
someone is in search of something, but does not find it till five minutes before the curtain falls.
For the next twenty-five years, he continued to write successful comedies and vaudevilles, all basically
constructed on the same plan and containing a dose of comic observation and good sense. "Of all the
subjects," he said, "which offered themselves to me, I have selected the bourgeois. Essentially mediocre in
his vices and in his virtues, he stands half-way between the hero and the scoundrel, between the saint and
the profligate."

During the second period of his career Labiche collaborated with Alfred Delacour, Adolphe Choler, and
others. Emile Augier said: "The distinctive qualities which secured a lasting vogue for the plays of Labiche
are to be found in all the comedies written by him with different collaborators, and are conspicuously absent
from those which they wrote without him. Even more important was his professional relationship with actor
Jean Marie Michel Geoffroy, who specialized in Labiche's pompous and fussy bourgeois characters. Many of
Labiche's roles were written specifically for Geoffroy. Celimare le bien-aime (1863), Le Voyage de M.
Perrichon (1860), La Grammaire, Un Pied dans le crime, La Cagnotte (1864), were some of Labiche's most
important plays.

In 1877 he ended his connection with the stage, and retired to his rural property in Sologne. There he
devoted his energies to supervising agricultural work and to reclaiming land and marshes. His lifelong friend,
Emile Augier, visited him there, and strongly advised Labiche to publish a collected and revised edition of his
works. Though Labiche was initially reluctant, he issued his comic plays in ten volumes during 1878 and
1879, which were enthusiastically received. Many people had assumed that Labiche's plays owed their
popularity to the actors who had appeared in them, but upon reading the plays, they realized that their
success was due to the writing itself, with its humor and skilled characterization. Due to this reevaluation of
Labiche's writing, he was elected to the Academie francaise in 1880.
Labiche died in Paris and was buried in the Cimetiere de Montmartre.
Some admirers have considered Labiche the equal of Moliere; his plays are more complex and less coarse
than many other examples of French farce. Love is practically absent from his theatre. In none of his plays
did he ever venture into the depths of feminine psychology, and womankind is only represented by
pretentious old maids and silly young ladies. He ridiculed marriage, but in a friendly and good-natured
manner which always left a door open to repentance and timely amendment.

33]

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Alan Ayckbourn
Alan Ayckbourn is one of the worlds most popular and prolific professional playwrights. He has written 74 full
length plays and more than 20 other revues and plays for children. He is also an acclaimed director, who
Arthur Miller said directed the definitive version of his play A View From The Bridge.

Alan was born in Hampstead, London, on 12 April, 1939. His mother was Irene Maud Worley better known
as the novelist Mary James - and his father Horace Ayckbourn, lead violinist with the London Symphony
Orchestra.

Educated at Haileybury, Alan left school at the age of 17 to pursue a career in the theatre immediately
gaining a job with the theatre impresario Sir Donald Wolfit. He was with the company for three weeks as an
acting stage manager for the production The Strong Are Lonely at the Edinburgh Festival. Alan went on to
work at theatres in Worthing, Leatherhead and Oxford, before being employed in 1957 as a stage manager
and actor at the Library Theatre, Scarborough.

The Library Theatre had been founded in 1955 by Stephen Joseph and was home to the UKs first
professional theatre in the round company, Studio Theatre Ltd. Alan was inspired by Stephen Joseph, who
became a mentor to the young man and encouraged him to both write and direct. Alans first professional
writing commission was inadvertently inspired by his acting career when he complained about a role he was
playing; Stephen threw down the gauntlet saying that if Alan wanted better roles, he should write one himself.
Alan wrote The Square Cat. This was a success for the company in the summer of 1959 and Stephen
immediately commissioned a second play, Love After All, for the winter of 1959.

Alan continued to act and write for the Library Theatre until 1962 when he was involved in the formation of
the Victoria Theatre, Stoke-on-Trent, with Stephen Joseph and Peter Cheeseman. This was the countrys
first permanent professional theatre in the round and Alan premiered two plays there, Christmas V
Mastermind and Mr Whatnot. The latter was produced in London in 1964 and received such a critical mauling
that Alan retreated to the BBC in Leeds as a radio drama producer where he worked between 1964 and
1970.

Alan continued writing, though, and produced Meet My Father for the Library Theatre in 1965. This would be
a turning point in his life. In 1967, the play retitled Relatively Speaking opened in the West End and was a
phenomenal hit.

It launched him into the public eye and in quick succession, plays such as How The Other Half Loves,
Absurd Person Singular and The Norman Conquests, established Alan Ayckbourn as one of the countrys
most popular and successful playwrights. As of 2010, he has written 75 full length plays, more than half of
which have transferred to either the West End or the National Theatre. At one point in 1975, he held the
record for having the most professional productions being performed simultaneously in the West End (The
Norman Conquests, Absurd Person Singular and Absent Friends). His work has been translated into more
than 35 languages and his plays are regularly performed throughout the world.

Stephen Joseph died in 1967 and Alan, alongside Ken Boden, Alfred Bradley and Rodney Wood, worked
together to keep the Library Theatre alive. Although Alan was closely involved with the theatre during this
period, both writing, directing and choosing plays for the company, he would not formally become Artistic
Director until 1972. Apart from a two year hiatus between 1986 and 1988 when he became a visiting director
at the National Theatre, he remained Artistic Director until retiring from that role on 31 March 2009.

Concurrent to this, Alans directing career also flourished. He directed his first play in 1961, Gaslight, at the
Library Theatre and in 1967, for the first time directed the world premiere of one of his own plays, The
Sparrow. Since 1967 he has directed the world premieres of all his plays and since 1977, he has directed all
the West End premieres of his plays. Since 1961, Alan has directed more than 260 productions and is
considered one of the worlds pre-eminent directors of in the round staging.

He is hugely committed to theatre-in-the-round, for which he has written the majority of his plays. It is always
worth remembering that when he stages a play in London or they are performed in the proscenium arch, it is
a step away from the authors original intention. It has frequently been stated that the definitive production of
Alans plays is the premiere production in the round in Scarborough, where he has premiered all but four of
his plays.

Alan Ayckbourn has received more than 35 awards and honours including two Oliviers, a Tony, two Molieres
and Lifetime Achievement Awards from both the Variety Club of Great Britain and the Writers Guild of Great
Britain. He was the 1992 Cameron Mackintosh Professor of Contemporary Theatre at Oxford University and
is also the recipient of a Montblanc de la Culture Award for Europe for establishing a thriving theatrical
tradition in Scarborough and for his dedication and commitment to it. In 2009, he was inducted into American
Theaters Hall of Fame and received the prestigious Society's Special Award at the Laurence Olivier Awards.
The holder of a number of honorary degrees, he was appointed a CBE in 1987 and in 1997 was knighted for
services to the theatre. In 2010, he received the prestigious Special Tony Award for Lifetime Achievement in
the Theatre.

His plays have been regularly staged in America and more than 10 have been produced on Broadway and
Off-Broadway. In 1975 he held the record for having the most plays simultaneously running on Broadway
(The Norman Conquests and Absurd Person Singular). However, he would probably consider his greatest
success in the States came in 2005, when he took his Scarborough company to the 59E59 Theaters Brits
Off Broadway Festival to present Private Fears In Public Places. The month-long run was an unprecedented
success receiving great acclaim from audiences and critics alike. The New York Times proclaimed it
altogether wonderful and the cast flawless. In 2007, his production of Intimate Exchanges also toured to
the Festival where it broke box office records at 59E59 Theaters and received a Drama Desk nomination for
Outstanding Play.

In February 2006, Alan suffered a stroke leading to the announcement in June 2007 that he would step down
as the Artistic Director of the Stephen Joseph Theatre. He would officially step down in 2009 but is commited
to contining to premiere and produce plays at the venue in the future.

2009 marked the 50th anniversary and saw another acclaimed transfer to the Brits Off Broadway festival in
New York with My Wonderful Day. The Old Vic also transferred its production of The Norman Conquests to
Broadway where it won a number of awards including a Tony for Best Revival. In 2011, Alan will premiere his
latest play Neighbourhood Watch at the Stephen Joseph Theatre, Scarborough, as well as an adaptation of
Anton Chekhov's Uncle Vanya entitled Dear Uncle.

39]

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