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)

    “Night and Day ‘ve been tampered with,
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    —Ralph Waldo Emerson (1803–1882)

    “His character as one of the fathers of the English language would alone make his works important, even those which have little poetical merit. He was as simple as Wordsworth in preferring his homely but vigorous Saxon tongue, when it was neglected by the court, and had not yet attained to the dignity of a literature, and rendered a similar service to his country to that which Dante rendered to Italy.”
    —Henry David Thoreau (1817–1862)