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The Workhouse Donkey - A Vulgar Melodrama
From Arden to his critics:
Why do you accuse me and abuse me
And your polite society refuse me,
Merely because I wear no belt nor braces?
There would be reason for wry mouths in your faces
And reason for your uncommitted halting speeches
If you would but admit I wore no bloody breeches
Why do you accuse me and abuse me
And your polite society refuse me,
Merely because I wear no belt nor braces?
There would be reason for wry mouths in your faces
And reason for your uncommitted halting speeches
If you would but admit I wore no bloody breeches
144 pages, Paperback
First published January 1, 1964
13 people want to read
About the author
John Arden
90 books8 followersOne of the most important of the British playwrights to emerge in the mid-20th century. His plays mix poetry and songs with colloquial speech in a boldly theatrical manner and involve strong conflicts purposely left unresolved.
Arden grew up in the industrial town of Barnsley, the character of which he captured in his play The Workhouse Donkey (1963). He studied architecture at the University of Cambridge and at Edinburgh College of Art, where fellow students performed his comedy All Fall Down (1955), about the construction of a railway. He continued to write plays while working as an architectural assistant from 1955 to 1957. His first play to be produced professionally was a radio drama, The Life of Man (1956). Waters of Babylon (1957), a play with a roguish but unjudged central character, revealed a moral ambiguity that troubled critics and audiences. His next play, Live Like Pigs (1958), was set on a housing estate. This was followed by his best-known work, Serjeant Musgrave’s Dance (1959), set in a colliery town in 1860–80. Both plays caused controversy.
In 1957 Arden married Margaretta D’Arcy, an actress and playwright, with whom he wrote a number of stage pieces and improvisational works for amateur and student players. The Happy Haven, produced in 1960 in London, is a sardonic farce about an old people’s home. The Workhouse Donkey is a crowded, exuberant, and comic drama of municipal politics. Armstrong’s Last Goodnight (1964) is a drama set in the Borders region of Scotland in the 1530s and written in Lowland Scottish vernacular. Left-Handed Liberty (1965), written to mark the 750th anniversary of the signing of Magna Carta, characteristically dwells on the failure of the document to achieve liberty. His writing became more politically committed, as evidenced in the two radio plays The Bagman (1972) and Pearl (1978). Later plays—The Non-Stop Connolly Cycle (1975), a six-part drama based on the life of the Irish patriot James Connolly, as well as the Arthurian drama The Island of the Mighty (1972), Vandaleur’s Folly (1978), and The Little Gray Home in the West (1982), among others—were written with D’Arcy. Arden’s fiction includes the novel Silence Among the Weapons (1982; also published as Vox Pop) and the story collection The Stealing Steps (2003).
At his death, he was lauded as "one of the most significant British playwrights of the late 1950s and early 60s".
Arden grew up in the industrial town of Barnsley, the character of which he captured in his play The Workhouse Donkey (1963). He studied architecture at the University of Cambridge and at Edinburgh College of Art, where fellow students performed his comedy All Fall Down (1955), about the construction of a railway. He continued to write plays while working as an architectural assistant from 1955 to 1957. His first play to be produced professionally was a radio drama, The Life of Man (1956). Waters of Babylon (1957), a play with a roguish but unjudged central character, revealed a moral ambiguity that troubled critics and audiences. His next play, Live Like Pigs (1958), was set on a housing estate. This was followed by his best-known work, Serjeant Musgrave’s Dance (1959), set in a colliery town in 1860–80. Both plays caused controversy.
In 1957 Arden married Margaretta D’Arcy, an actress and playwright, with whom he wrote a number of stage pieces and improvisational works for amateur and student players. The Happy Haven, produced in 1960 in London, is a sardonic farce about an old people’s home. The Workhouse Donkey is a crowded, exuberant, and comic drama of municipal politics. Armstrong’s Last Goodnight (1964) is a drama set in the Borders region of Scotland in the 1530s and written in Lowland Scottish vernacular. Left-Handed Liberty (1965), written to mark the 750th anniversary of the signing of Magna Carta, characteristically dwells on the failure of the document to achieve liberty. His writing became more politically committed, as evidenced in the two radio plays The Bagman (1972) and Pearl (1978). Later plays—The Non-Stop Connolly Cycle (1975), a six-part drama based on the life of the Irish patriot James Connolly, as well as the Arthurian drama The Island of the Mighty (1972), Vandaleur’s Folly (1978), and The Little Gray Home in the West (1982), among others—were written with D’Arcy. Arden’s fiction includes the novel Silence Among the Weapons (1982; also published as Vox Pop) and the story collection The Stealing Steps (2003).
At his death, he was lauded as "one of the most significant British playwrights of the late 1950s and early 60s".
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Displaying 1 - 2 of 2 reviews
September 20, 2021
Part of my read a play a month plan and really enjoyed this political play. Tories and Labour battling fir hearts and minds in the North of England and both failing miserably - as relevant today as it was in the 60's. Would love to see this performed but practically challenging I imagine.
January 30, 2021
Great political satire. Reads really well and I would love to see it performed
Displaying 1 - 2 of 2 reviews