Arnold Wesker - Works

Works

  • The Kitchen, 1957
  • Chicken Soup with Barley, 1958
  • Roots, 1958
  • I'm talking about Jerusalem, 1958
  • Menace, 1961 (For Television)
  • Chips with Everything, 1962
  • The Nottingham Captain, 1962
  • Four Seasons, 1965
  • Their Very Own and Golden City, 1966
  • The Friends, 1970
  • The Old Ones, 1970
  • The Journalist, 1972
  • The Wedding Feast, 1974
  • Shylock, 1976
  • Love Letters on Blue Paper, 1976
  • Phoenix, 1980
  • Caritas, 1980
  • Words on the Wind, 1980
  • One More Ride on the Merry-Go-Round, 1980
  • Breakfast, 1981
  • Sullied Hand, 1981
  • Four Portraits - Of Mothers, 1982
  • Annie Wobbler, 1982
  • Yardsale, 1983
  • Cinders, 1983
  • The Merchant, 1983
  • Whatever Happened to Betty Lemon?, 1986
  • When God Wanted a Son, 1986
  • Lady Othello, 1987
  • Little Old Lady & Shoeshine, 1987
  • Badenheim 1939, 1987
  • The Mistress, 1988
  • Beorhtel's Hill, 1988 (Community Play for Basildon)
  • Men Die Women Survive, 1990
  • Letter To A Daughter, 1990
  • Blood Libel, 1991
  • Wild Spring, 1992
  • Bluey, 1993
  • The Confession, 1993
  • Circles of Perception, 1996
  • Break, My Heart, 1997
  • Denial, 1997
  • Barabbas, 2000
  • The Kitchen Musical, 2000
  • Groupie, 2001
  • Longitude, 2002
  • Honey, 2005 (novel)
  • The Rocking Horse, 2007 (Commissioned by the BBC World Service)

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    “Again we mistook a little rocky islet seen through the “drisk,” with some taller bare trunks or stumps on it, for the steamer with its smoke-pipes, but as it had not changed its position after half an hour, we were undeceived. So much do the works of man resemble the works of nature. A moose might mistake a steamer for a floating isle, and not be scared till he heard its puffing or its whistle.”
    —Henry David Thoreau (1817–1862)

    “I divide all literary works into two categories: Those I like and those I don’t like. No other criterion exists for me.”
    —Anton Pavlovich Chekhov (1860–1904)

    “That man’s best works should be such bungling imitations of Nature’s infinite perfection, matters not much; but that he should make himself an imitation, this is the fact which Nature moans over, and deprecates beseechingly. Be spontaneous, be truthful, be free, and thus be individuals! is the song she sings through warbling birds, and whispering pines, and roaring waves, and screeching winds.”
    —Lydia M. Child (1802–1880)