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My Mother Said I Never Should (Acting Edition), by Charlotte Keatley
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This award winning play is about four generations of women growing up in England during this century.
- Sales Rank: #4681632 in Books
- Brand: Brand: Samuel French Inc Plays
- Published on: 2015-03-20
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .17" w x 5.51" l, .25 pounds
- Binding: Paperback
- 82 pages
- Used Book in Good Condition
Review
“A landmark play. The theatrical equivalent of breaking the four-minute mile...pointing the way for the next generation of playwrights in form and content' ”—"The Guardian
"“In its revelation of mother-daughter emotions over the years, the play is without rivals. It is a classic.”—"The Times of London"
About the Author
Charlotte Keatley is best-known for her play "My Mother Said I Never Should, " which has been named by the National Theatre as one of The Significant Plays of the Twentieth Century. More recently, Charlotte Keatley's play "Our Father" premiered at the Watford Palace Theatre. She has written for radio, television and film, and has won the George Devine Award, Manchester Evening News Best New Play Award, a Time Out Award, and was nominated for an Olivier Award as Most Promising Newcomer.
Most helpful customer reviews
1 of 1 people found the following review helpful.
All women must read this!
By Amy
I found it complex to grasp at the start due to the time lapses and the use of children scenes to represent a different world, but as soon as i got past this i realised this was not only an interesting, but very educational read. The characters are four generations of the same family, therefore it is very clever that the play is circular. Making the reality of these womens lives mirror there mothers past. I personally enjoyed the book because there was always something that related to something already said, making you sympathise with each character but also smiling at the irony.
0 of 0 people found the following review helpful.
It misses the density of love
By Dr Jacques COULARDEAU
Four generations of women together on the stage, and absolutely no men. Four generations disguised as three because the daughter of the third generation woman is raised as the daughter of the second generation woman, hence as the sister of her own mother, a mother out of wedlock. But that is a detail that only get pregnant, if I can say so, when the woman of the fourth generation finds out the one she considered her sister is in fact her mother. From the first generation, a woman who had to work hard to bring her daughter to a better beginning, we move to the second generation where the beginning of the next generation is more or less guaranteed after World War 2, but the independent spirit of that third generation brings an affair with a married man, who has two children on his own and of course never keeps his word about marrying the pour late teenager who gets pregnant at first sexual contact. Complete lack of sexual education and emotional education. The mother is of course responsible. Who else could be responsible for that complete lack of emotional and sexual education? School can at best give some information on sex but not on love. Only a mother for a daughter and a father for a son can provide with such an initiation more than an education. The fourth generation is even worse as for her independence and lack of care for anything, except the mottos of some punk fundamentalist. But what's left after these two hours of theater? I am afraid not much. The feminine point of view on the tremendous evolution from 1935 to today is not bringing anything new except that women can easily fall under, be the victims of some institutionalized blindness that is perfectly relayed by what I would call a freewheeling carelessness disguised in the latest generation as carefulness that is just a fa�ade since it corresponds to little. That Rosie girl understand her Jackie sister is in fact her mother, but that does not seem to throw her into some deep thinking trance or emotional existential experience. She could have been told her real mother was a vampire or a dragon she would not have been moved one iota more. And in fact the only significant symbol in that play is the solitaire game that reveals the patience and fate of women is to play solitaire games when men are doing the real thing outside in society. The second generation woman who raised her own third generation daughter and the fourth generation daughter, is the only one who really feels the rub somewhere and dies early, at work, working to raise the daughter of her own daughter. Absurd and in many ways silly. Where is the message in that early death of the enslaved second generation woman who is the victim of her own daughter? From where I stand there is no meaning and it is a case of overexploitation of one woman by her own daughter. Worse than slavery. Just plain overexploitation.
Dr Jacques COULARDEAU, University Paris 1 Pantheon Sorbonne, University Paris 8 Saint Denis, University Paris 12 Cr�teil, CEGID
2 of 3 people found the following review helpful.
What really is the Wasteland?
By A Customer
This is one of the best modern plays I have ever read! This play is a powerful contemporary feminist drama and portrays the lives and hardships of four generations of women of the same family. The action does not always take place chronologically - which can confuse - and occurs between the 1920's and 1980's. It documents some of societies changing opinions and views towards the roles of women. The wasteland scenes are perhaps some of the most interesting in the play. It is in these scenes when all four women can be seen as in their own part of the century as children playing together. The notes included with this edition of the play are most helpful as is the forward by Charlotte Keatley.
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