Howard Brenton's Lawrence After Arabia explores the afterlife of a legend, when being a hero has become a burden, and the man once celebrated as Lawrence of Arabia wants only to be normal once more.

August, 1922. The most famous man in England has vanished without a trace: T.E. Lawrence has completely disappeared. But in the idyllic calm of the village of Ayot St Lawrence, on the top floor of the home of Mr and Mrs Bernard Shaw, the 'uncrowned King of Arabia' is hiding - with slabs of homemade carrot cake for comfort.

Wearied by his romanticised persona and worldwide fame, disgusted with his country and himself, Lawrence is craving normality. But when you're a brilliant archaeologist, scholar, linguist, writer and diplomat - as well as a legendary desert warrior - how can you ever be normal? And beyond the Shaws' garden wall, nobody cares how he feels: England just wants its hero back. Can he ever return?

Howard Brenton's Lawrence After Arabia, commissioned to mark the centenary of the start of the Arab revolt, finds Lawrence trapped in his love/hate relationship with the limelight, tormented by ghosts and haunted by broken promises.

It premiered at Hampstead Theatre, London, in 2016, directed by John Dove.

About the Author

Howard Brenton was born in Portsmouth in 1942. His many plays include Christie in Love (Portable Theatre, 1969); Revenge (Theatre Upstairs, 1969); Magnificence (Royal Court Theatre,1973); The Churchill Play (Nottingham Playhouse, 1974, and twice revived by the RSC, 1978 and 1988); Bloody Poetry (FocoNovo, 1984, and Royal Court Theatre, 1987); Weapons of Happiness (National Theatre, Evening Standard Award, 1976); Epsom Downs (Joint Stock Theatre, 1977); Sore Throats (RSC,1978); The Romans in Britain (National Theatre, 1980, revived at the Crucible Theatre, Sheffield, 2006); Thirteenth Night (RSC,1981); The Genius (1983), Greenland (1988) and Berlin Bertie (1992), all presented by the Royal Court; Kit's Play (RADA Jerwood Theatre, 2000); Paul (National Theatre, 2005); In Extremis (Shakespeare's Globe, 2006 and 2007); Never So Good (National Theatre, 2008); The Ragged Trousered Philanthropists adapted from the novel by Robert Tressell (Liverpool Everyman and Chichester Festival Theatre, 2010); Anne Boleyn (Shakespeare's Globe, 2010 and 2011); 55 Days (Hampstead Theatre, 2012); #aiww: The Arrest of Ai Weiwei (Hampstead Theatre, 2013); The Guffin (NT Connections, 2013); Drawing the Line (Hampstead Theatre, 2013); Doctor Scroggy's War (Shakespeare's Globe, 2014) and Lawrence After Arabia (Hampstead Theatre, 2016).

Collaborations with other writers include Brassneck (with David Hare, Nottingham Playhouse, 1972); Pravda (with David Hare, National Theatre, Evening Standard Award, 1985) and Moscow Gold (with Tariq Ali, RSC, 1990).

Versions of classics include The Life of Galileo (1980) and Danton's Death (1982) both for the National Theatre, Goethe's Faust (1995/6) for the RSC, a new version of Danton's Death for the National Theatre (2010) and Dances of Death (Gate Theatre, 2013). He wrote thirteen episodes of the BBC1 drama series Spooks (2001-05, BAFTA Best Drama Series, 2003).

Reviews

'A quiet, but highly topical, masterpiece... clever and engaging... the skill of the play is that it doesn't make you think; it lets you think'

* Telegraph *

'Written with a rare and engaging affection for its participants... full of wonderful, zinging lines, and a sharp-eyed observation of the collision between Bohemian values and establishment rules. It's a quiet reminder that recent history matters. I rather loved it'

* WhatsOnStage *

'Fascinating... it feels as if we have been given a magic window to see what really happened to Lawrence after Arabia'

* The Times *



Book Information
ISBN 9781848425774
Author Howard Brenton
Format Paperback
Page Count 88
Imprint Nick Hern Books
Publisher Nick Hern Books