Cultural Depictions of T. S. Eliot - Other

Other

• There is a blue plaque on one at the north west corner of Russell Square in London, commemorating the fact that T. S. Eliot worked there for many years while he was the poetry editor for the publisher Faber & Faber.
• English singer-songwriter Liz Kearton produced a complete musical setting of The Wasteland and The Love song of J Alfred Prufrock in 2006.
• In his youth, Anthony Burgess (1917–1993) composed musical settings of Sweeney Agonistes (for voices and piano, ca. 1935) and "Lines for an Old Man" (for old man and four instruments, ca. 1939). In 1951, he presented staged musical presentations of his songs from Sweeney Agonistes in Banbury.
• In 1937, Burgess performed a "musico-dramatic presentation" of The Waste Land as a student at the University of Manchester. This was a modified version of an arrangement by Geoffrey Bridson that had been performed earlier that year, with T. S. Eliot's permission, on BBC North Regional (Manchester). In 1978, Burgess composed a new setting of The Waste Land for narrator, soprano, flute, oboe, cello and piano. It was premiered on 14 October 1978 at Sarah Lawrence College. Burgess was supposed to have been the narrator for that performance, but was unable to travel to the US due to illness. In that performance, Chester Biscardi conducted the Laurentian Chamber Players: Gerardo Levy, flute; Ronald Roseman, oboe; Michael Rudiakov, cello; Joel Spiegelman, piano; and Catherine Rowe, soprano. The writer Brendan Gill narrated. Burgess's 1978 version of The Waste Land was performed a second time on 30 September 1982 in Merkin Hall at the Abraham Goodman House in New York City, again performed by the Laurentian Chamber Players, this time with Gwendolyn Mok, piano; Raffael Adler, conductor; and Charles de Carlo, narrator. These two performances were given with the permission of the Eliot estate, but further performances were prohibited as long as The Waste Land remained under copyright protection.