John Golder

Two of Kathleen Riley’s aims are clearly, if somewhat grandly, spelt out in her prologue: to redress the omission of Nigel Hawthorne ‘from theatre histories of the latter half of the twentieth century’; and to ‘present a new appraisal of post-war theatre by focusing on the personal journey of one of Britain’s finest […] actors’. Another, unspoken explicitly, is to articulate the ‘d ... (read more)

The publisher’s puff to actor Michael Craig’s autobiography, a ‘fascinating, wittily wicked memoir of his life in film, theatre and television’, is unfortunate: not only is its conventional hyperbole on this occasion a cruel overstatement, but it misleadingly suggests a meaningful structuring of the events of Craig’s long career – in three media on two continents – that is nowhere ap ... (read more)