By Peter Murphy
1964 brings clean demanding situations to Ben Schroeder, now a member of chambers headed via Bernard Wesley quality controls. A relationship couple were attacked at the banks of the River Ouse close to Ely. the scoop of thrashing, rape and homicide quickly turn into January's sensational headlines. Schroeder is termed to aid the defence yet lead quality control, Martin Hardcastle, has a name that is going prior to him. because the strain mounts, speak of alcoholism fills the court with Hardcastle's repeated absences and doubtless reckless activities risking the aid of his staff. And while a surprise selection is made, it's left to Ben and his colleague, Jess, to accommodate the results. With the case drawing mass media consciousness and public opinion turning opposed to capital punishment, Schroeder needs to once more face the bias, scandal and corruption of the brutal court docket truth and its verdict at the destiny of a man's lifestyles.
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Extra resources for A Matter for the Jury
Before the young swain meets the putative parents of his beloved, however, Ayckbourn swathes Greg in the accoutrements of farce. We see him in a sheet draped as a loincloth, slippers too large for him, festooned with dripping flowers. After struggling with a jammed drawer, he opens another drawer with such force that he scatters its contents. Finally, he gathers up a stranger's slippers and the cigarette packet with its telltale address of the action to follow. Through Greg's visible discomfort, Ayckbourn lightens his several reminders of the wellmade play - a woman with a past, incriminating letters, chance confrontations, suspenseful curtains.
3 Rather than reveal class division, the songs of Melodrama Play indict the artist for complicity in his own commercial entrapment. " 4 Shepard's Melodrama Play bounces stock types of the rock scene through an action-packed play, while the virtuous hero of traditional melodrama shrivels into the figure of the beleaguered artist, whoever he may be. Revealing Shepard's facility for pastiche, Melodrama Play is a minor work thriving on its songs and visual images - the eyeless giant photographs, the ubiquitous dark glasses, the artist Drake on all fours.
91), and although I cannot find the right quote for Simon, he has made comparable statements. Nevertheless the old burlesque phrase - "Funny is money" - accounts for their continued audience appeal. Into variants of New Comedy plots both playwrights usher stereotypical characters who utter funny phrases - Simon's consciously, Ayckbourn's unconsciously. These phrases bounce off that old comic staple - the running gag. Simon harps on the waxed fruit of Come Blow Your Horn, the five flights of stairs of Barefoot in the Park, Oscar's genial sloppiness and Felix's maniacal neatness of The Odd Couple, Barney's bungled lies of Last of the Red Hot Lovers, the Edisons' treacherous apartment of The Prisoner of Sec20 Funny money: Neil Simon and Alan Ayckbourn ond Avenue.
A Matter for the Jury by Peter Murphy