The Theatre of Joseph Conrad
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1 The Theatre of Joseph Conrad
2 Frontispiece: Caricature of Joseph Conrad by Quiz (Saturday Review, 14 October 1922) (The Conradian)
3 The Theatre of Joseph Conrad Reconstructed Fictions Richard J. Hand
4 Richard J. Hand 2005 Softcover reprint of the hardcover 1st edition All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London W1T 4LP. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act First published 2005 by PALGRAVE MACMILLAN Houndmills, Basingstoke, Hampshire RG21 6XS and 175 Fifth Avenue, New York, N.Y Companies and representatives throughout the world PALGRAVE MACMILLAN is the global academic imprint of the Palgrave Macmillan division of St. Martin s Press, LLC and of Palgrave Macmillan Ltd. Macmillan is a registered trademark in the United States, United Kingdom and other countries. Palgrave is a registered trademark in the European Union and other countries. ISBN ISBN (ebook) DOI / This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Hand, Richard J. The theatre of Joseph Conrad : reconstructed fictions / Richard J. Hand. p. cm. Includes bibliographical references and index. ISBN (cloth) 1. Conrad, Joseph, Knowledge Performing arts. 2. Conrad, Joseph, Dramatic works. 3. Conrad, Joseph, Stage history. 4. Theatre England. I. Title. PR6005.O4Z dc
5 Dedicated to Sadiyah, Shara and Danya
6 This page intentionally left blank
7 Contents List of Figures Acknowledgements A Note on Texts viii ix xi Introduction: Why Conrad s Plays? 1 1 A Jolly Cold World: An Introduction to the Theatre of Joseph Conrad 6 2 A Tragedy in Modern Life: One Day More 20 3 A Grim and Weird Play: Basil Macdonald Hastings s Victory 53 4 A Play of Unbearable Horror: Laughing Anne 87 5 A Most Disturbing Play: The Secret Agent Conclusion: A Terribly Searching Thing 165 Notes 169 Bibliography 178 Index 187 vii
8 List of Figures Frontispiece: Caricature of Joseph Conrad by Quiz (Saturday Review, 14 October 1922) (The Conradian) 1 Lena (Marie Löhr) in a variety of dramatic poses from Victory (The Sketch, 9 April 1919) (British Library) 2 The Villains Arrive and the Discovery of Ricardo : Two Scenes from Victory (The Sketch, 16 April 1919) (British Library) 3 Lena (Marie Löhr) and Heyst (Murray Carrington) in Victory (The Lady, 10 April 1919) (British Library) 4 Witnessing Unbearable Horror: Captain Davidson (Andrew Pullen) in Laughing Anne (15 June 2000) (Photograph: Yannick le Boulicaut) 5 Grand-Guignol meets Melodrama: Laughing Anne (Lucie Ingram) and the Man Without Hands (Roger Clarke) in Laughing Anne (15 June 2000) (Photograph: Yannick le Boulicaut) 6 Victor Hick s caricature of The Secret Agent (The Stage, 9 November 1922) (The Conradian) ii xii xiii xiv xv xvi xvii viii
9 Acknowledgements This book has come into being in large part with thanks to two successful bids to the Arts and Media Research Unit at University of Glamorgan which awarded me a period of study leave and financial support for travel to London and the acquisition of images. I would like to thank the colleagues at the University of Glamorgan, especially Dr Katja Krebs and Professor Mike Wilson for giving invaluable advice. Many thanks, too, to Professor Michael Connolly, Professor Frances Mannsaker and Dr Alan Salisbury who generously supported the Laughing Anne production and tour in I would also like to thank the students who, as cast and crew, brought Laughing Anne to life for the first time: Andrew Pullen, Lucie Ingram, Tim Duval, Sefton Booth, Roger Clark, Richard Howell, Coryn Daniel, and Conor Plunkett. I would also like to thank my students at the University of Glamorgan who incredible though it may seem preferred Conrad s plays to GBS s. Thank you to the staff at the British Library in St Pancras and Colindale and the Polish Library at POSK. I would also like to thank my doctoral supervisors at the University of Glasgow ( ): Dr Donald Mackenzie and Professor Claude Schumacher. I am deeply indebted to the Conradians or as the New York Times in 1919 would have it Conradicals who have helped me with direct assistance or enthusiastic advice. They have always welcomed me to conferences or replied to correspondence with the greatest warmth and interest despite my off-centre aspect of Conrad studies: Professor Ted Billy, Professor Alison Wheatley, Dr Stephen Donovan, Professor J. H. Stape, Professor Robert Hampson, the late Bruce Harkness, Professor S. W. Reid, Dr Allan Simmons, Professor Gene Moore, Professor Peter Mallios, Dr Katherine Baxter, Dr Tim Middleton, Professor Cedric Watts, Professor Yannick le Boulicault, Professor Wiedslaw Krajka, Professor Sue Jones and Professor Keith Carabine. A very special debt of gratitude is owed to Professor Don Rude and Professor Neill Joy who hatched the plan of premiering Laughing Anne. Professor Rude, in arranging the Laughing Anne tour to Texas Tech University, was endlessly inspiring, supportive and resourceful and is, in Conrad s words, worthy of my undying regard. ix
10 x Acknowledgements Finally, a very special thanks to my family: Sadiyah; five-year-old Shara whose drawings would always lighten the impenetrable darkness of the study; and two-year-old Danya who would always say good boy when she was told that daddy was working hard on his book, adding poor boy when her father emerged, looking very much the worse for wear. To these formidable women this book is dedicated. Richard J. Hand November 2004
11 A Note on Texts The following texts have been used for citations from primary materials: Conrad, Joseph, The Secret Agent (ed. Bruce Harkness and S. W. Reid) (Cambridge: Cambridge University Press, 1990). Conrad, Joseph, Three Plays (London: Methuen, 1934). Hastings, Basil Macdonald, Victory: A Play in Three Acts (ed. Gene M. Moore and Allan H. Simmons) The Conradian 25:2 (Autumn 2000), The abbreviation CL has been used throughout this book for Conrad s letters: Frederick R. Karl and Laurence Davies (eds), The Collected Letters of Joseph Conrad Volume 1: (1983); Volume 2: (1986); Volume 3: (1988); Volume 4: (1991); Volume 5: (1996); Volume 6: (2002). Laurence Davies and J. H. Stape (eds), The Collected Letters of Joseph Conrad Volume 7: (2005). All other citations from Conrad are from Dent s Uniform Standard Edition (London: Dent, ) which has the same pagination as the Dent Collected Edition (London: Dent, ) and the Oxford World s Classics edition (Oxford: Oxford University Press, 1983 ). xi
12 xii Figure 1 Lena (Marie Löhr) in a variety of dramatic poses from Victory (The Sketch, 9 April 1919) (British Library)
13 xiii Figure 2 The Villains Arrive and the Discovery of Ricardo : Two Scenes from Victory (The Sketch, 16 April 1919) (British Library)
14 xiv Figure 3 Lena (Marie Löhr) and Heyst (Murray Carrington) in Victory (The Lady, 10 April 1919) (British Library)
15 xv Figure 4 Witnessing Unbearable Horror: Captain Davidson (Andrew Pullen) in Laughing Anne (15 June 2000) (Photograph: Yannick le Boulicaut)
16 xvi Figure 5 Grand-Guignol meets Melodrama: Laughing Anne (Lucie Ingram) and the Man Without Hands (Roger Clarke) in Laughing Anne (15 June 2000) (Photograph: Yannick le Boulicaut)
17 xvii Figure 6 Victor Hick s caricature of The Secret Agent (The Stage, 9 November 1922) (The Conradian)
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