Charles and I first met when I auditioned for what, many months later, became the Theatre of Cruelty. He was always work oriented, a style very different to his style as a friend. But whatever his ‘style’, he was always honest, creative, rambunctious absolutely, open to ideas, hungry for innovation, cynical, caustic, fearless and a true, true friend and a true, true believer in the power of theatre, to transform, engage, question, involve, and discover.

His was a transformative view of what a director can, perhaps even, should do. Never mis-lead, always lead, always explore, truth, truth, truth. He was deeply human, sensitive, intelligent, supportive or scathing if the situation warranted it. He was truly an explorer and I still feel privileged that I went on some of his journeys with him.

He would close as many doors as he would open, but he never left you outside on the doorstep. I’ll never forget ‘Charles’, as I always called him, and I am so grateful that I had the opportunity to work with him. Even more, he was a friend, much loved, much missed but never forgotten.

Introduction

During 1963 and 1964 Charles Marowitz and Peter Brook put Artaud’s theories into practice with the Royal Shakespeare Company Experimental Group/Theatre of Cruelty at LAMDA. This was the first full-fledged experimental project of its kind in Britain and injected Artaud’s ideas into contemporaneous theatre practice. Marowitz was the first American to direct at the Royal Shakespeare Company and the first American to direct at the Czech National Theatre (while collaborating with Vaclav Havel). A police raid on his theatre in London during the screening of an Andy Warhol film was the subject of a debate in the British Parliament involving a future prime minister. He wrote over a million words and numerous figures who have come to shape contemporary theatre and larger society were influenced in the formative stages of their careers by Marowitz. Marowitz directed the British premieres of Pablo Picasso’s The Four Little Girls, Samuel Beckett’s Act Without Words II, Arthur Miller’s The Man Who Had All The Luck, Saul Bellow’s The Bellow Plays, and the 1966/67 production of Joe Orton’s Loot, which received the Evening Standard Award for Best Play of the Year.

It has been seven years now since Marowitz’s passing on 2 May 2014 due to complications from Parkinson’s disease. It is important with perspective and hindsight to consider the significance of his life and career and his impact on theatre and the times in which he lived. Without Marowitz the theories and ideas of Antonin Artaud would potentially remain obscure. The entire trajectory and ecology of theatre and performance since the 1960s has been considerably influenced by this alone. The present-day popularity of ‘immersive theater’ was a mode of performance originally popularized in British theatre by Charles Marowitz and Allan Kaprow in the famous ‘Happening’ at the 1963 Edinburgh Drama Conference. The conference may be seen as marking the point when the experimental practices of the Edinburgh Fringe began to proliferate more widely to the rest of the UK.

In 1968 Marowitz started the Open Space Theatre on Tottenham Court Road in collaboration with Thelma Holt. The Open Space was an experimental theater run as a repertory company and introduced many important American writers to the British Theatre including Sam Shepard, Terence McNally, and John Guare. In many respects the Open Space was an Off Broadway Theatre based in London. It hosted an American season of plays in 1969 and continued to premiere many more American plays. The work at the Open Space also included British theatre artists such as Howard Barker and Mike Leigh in the early stages of their careers. There is a gap in our collective understanding of this important figure and a gap in currently available literature about him.

I collaborated with Marowitz four times and he sent me his new writing for feedback over the last fifteen years of his life. In an informal sense I inherited Charles’ collection of theater journals, magazines, and trade publications, and in reading my way through the material I found a number of gems that have not seen the light of day in fifty years or more. I also had works of his that have not been published as well as several hours of recorded interviews with Marowitz and his close associate Jim Haynes. This inspired me to organise a compendium of Marowitz’s unpublished and otherwise obscure but intensely valuable writings.

The purpose of The Marowitz Compendium, is first to spark a posthumous revaluation of Marowitz oeuvre and second to provide an edited collection that surveys his entire contribution to the theatre for generations encountering his work for the first time. The collection contains previously unpublished material including a selected section from Marowitz’s memoir Out of the Melting Pot (2014) as well as the play script for Tea with Lady Bracknell (1981). There is also obscure material of great value such as Marowitz’s 1966 interview with Roger Blin, director of the world premiere of Waiting for Godot. Included in the collection is work that is emblematic of his oeuvre and ‘greatest hits’ or at least reference to them such as the Broadway production diary for Sherlock’s Last Case (1987). The Epilogue is Marowitz Remembered (2014) by Thelma Holt his lifelong friend and closest collaborator.

This chapter introduces Marowitz and places him within the context of contemporaneous theoretical movements and changes in broader culture. In addition, indicators of his influence on performance are identified and discussed. This introduction provides a map of the book so that readers can more easily navigate each section. It also provides a brief description of the methodology, and a set of claims about substantive and theoretical issues at the core of the compendium’s purpose. This book shows that Charles Marowitz had an impact which has not been fully acknowledged or examined to date. It contributes to a more comprehensive and dynamic understanding of the forces which shape theatre and culture today. The audience for this book includes students, postgraduates, specialists, and general readers interested in drama and the history of contemporary theater.

Volume II

Due to the Covid pandemic it was not possible to access the Marowitz archive at

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