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127:’s censorship by operating as theatre clubs, where membership was obligatory, and took risks by producing new and experimental plays, or plays by writers thought to be commercially unviable on the West-end stage,
100:, first as a press agent, then as a stage manager, and in 1932 he became their resident director. In 1934, he bought the lease on the small London club theatre, the
92:(16 November 1901 – 7 November 1980) was an English theatrical director, producer and manager who began his theatrical career while still an undergraduate student at
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he documented the histories of a number of small, committed, independent theatre companies including his own, the
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and after the war
Marshall set up a production company and produced several plays in the West-end. In his book
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Colin
Chambers (Ed.), Continuum Companion to Twentieth Century Theatre, Continuum, London, 2002.
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he described the history of theatrical production together with his own experiences.
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Club and the
Cambridge Festival Theatre. These theatres were able to avoid the
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Norman
Marshall, The Producer and the Play, Macdonald, London, 1957.
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Norman
Marshall, The Other Theatre, John Lehmann, London, 1947.
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130:The Gate Theatre Studio was destroyed during the
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