Focusing on the friendship dynamics, the narrative delves into the lives of Charles Dickens and his two best friends, Ebenezer Scrooge and Jacob Marley, who initially reject funding for A Christmas Carol. Their refusal leads to their transformation into the curmudgeonly characters in Dickens' story. While Scrooge finds redemption and joy, Marley remains shackled by his past mistakes, yearning for redemption even in death, highlighting themes of friendship, regret, and the quest for forgiveness.
David Weinberg argues that American experimental theatre practice was one key factor in the development of an important phase in the history of the alternative theatre movement in Britain during the period 1956–1980. His analysis draws on key concepts and theories in the work of Elizabeth Burns (1972) and Baz Kershaw (1992, 1999). The main historical developments he covers are the activities of the experimental theatre groups associated with Jim Haynes, Charles Marowitz, Nancy Meckler, and Ed Berman, four expatriate American theatre practitioners living in Britain during the time period 1956–1980. In addition, he also examines important American-based groups—Living Theatre (1947), Open Theatre (1964), La MaMa (1960), and Bread and Puppet (1965) —which performed in Britain and which made an impact during the same period, as well as a wide range of indigenous British groups—Pip Simmons (1968), Foco Novo (1972–1989), Joint Stock (1974–1989)—, institutions—RSC (1961), Royal Court (1956)—, and individuals such as Max Stafford-Clark, Thelma Holt, John Arden, Ann Jellicoe, and the Portable playwrights (1968–1972) which in one way or another were influenced by American exemplars. Weinberg’s study is essential reading for everyone seeking a more comprehensive and dynamic understanding of the forces which shaped the alternative theatre movement in Britain.
