When Christopher Fry's The Lady's Not for Burning was produced in 1948, a great new hone seemed to have dawned for the English-speaking theater. None of Fry's other plays (A Phoenix Too Frequent, Venus Observed, The Dark Is Light Enough) matches Lady in language and, particularly, in dramatic coherence. But even at his weakest, Fry has led a triumphant one-man parade against the modern theater's main movements. Where virtually all other playwrights were committed to realism or surrealism. Fry wrote romantic and imaginative drama; where poetry had been banished from the stage so severely that...
To continue reading:
or
Log-In
