William Douglas-Home - Plays

Plays

  • Great Possessions (1937)
  • Passing By (1940)
  • Now Barabbas (1947)
  • The Chiltern Hundreds (1947)
  • Ambassador Extraordinary (1948)
  • The Thistle and the Rose (1948)
  • Master of Arts (1949)
  • The Bad Samaritan (1952)
  • Caro William (1952)
  • The Manor of Northstead (1954)
  • The Reluctant Debutante (1955)
  • The Iron Duchess (1957)
  • Aunt Edwina (1959)
  • Up a Gum Tree (1960)
  • The Bad Soldier Smith (1961)
  • The Cigarette Girl (1962)
  • The Drawing Room Tragedy (1963)
  • The Reluctant Peer (1964)
  • The Bishop and the Actress (1964)
  • Two Account Rendered (1964)
  • Betzi (1965)
  • A Friend Indeed (1965)
  • The Secretary Bird (1967)
  • The Queen's Highland Servant (1967)
  • The Grouse Moor Image (1968)
  • The Jockey Club Stakes (1970)
  • Uncle Dick's Surprise (1970)
  • The Douglas Cause (1971)
  • Lloyd George Knew My Father (1972)
  • In the Red (1972)
  • At the End of the Day (1973)
  • The Dame of Sark (1974)
  • The Lord's Lieutenant (1974)
  • Dramatic Licence (1975)
  • The Consulting Room (1977)
  • The Perch (1977)
  • Rolls Hyphen Royce (1977)
  • The Kingfisher (1977)
  • The Editor Regrets (1979)
  • You're Alright, How Am I? (1981)
  • Four Hurts Double (1982)
  • Her Mother Came Too (1982)
  • The Golf Umbrella (1983)
  • David and Jonathan (1984)
  • After the Ball is Over (1985)
  • Portraits (1987)
  • A Christmas Truce (1989)

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Famous quotes containing the word plays:

    “If you want to see your plays performed the way you wrote them, become President.”
    —Václav Havel (b. 1936)

    “Language makes it possible for a child to incorporate his parents’ verbal prohibitions, to make them part of himself....We don’t speak of a conscience yet in the child who is just acquiring language, but we can see very clearly how language plays an indispensable role in the formation of conscience. In fact, the moral achievement of man, the whole complex of factors that go into the organization of conscience is very largely based upon language.”
    —Selma H. Fraiberg (20th century)

    “A great many quite good plays could be performed with rhythmic howls in the place of dialogue and lose almost nothing by the change.”
    —Rebecca West (1892–1983)