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Last Updated: 09 Mar 11

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Tom Needham

TOM NEEDHAM   

Nationality:   n/a    Email:   n/a   Website:   n/a

Literary Agent:  n/a

Tom Needham has been a successful scriptwriter for many years. He's written more episodes of The Bill than anyone else in the history of the programme. He wrote their first ever live episode in 2003, and his episode Die By The Sword was nominated for this year's 2010 BAFTA Award for Best Continuing Drama. His other credits include Silent Witness, Casualty, Trainer, Howards' Way, Virtual Murder, Wycliffe, Dalziel & Pascoe, Dangerfield, Retrace, Emmerdale, and all five episodes of Cold Blood (starring Matthew Kelly, John Hannah and Jemma Redgrave). His plays include a ghost story for Clap Trap Productions The Wreckers, and a children's play Won't Be Long.

Plays by Tom Needham

Frankenstein Live

1st Produced:

Richmond: Georgian Theatre Royal, Victoria Road, Richmond, North Yorkshire, DL10 4DW >>>

03 Mar 2011

Company:

n/a

1st Published:

I don't think it has been published. Try emailing Playwright or Agent where listed at top of page.

ISBN/ASIN:

-

Music:

-

doollee no

#125785

To Buy This Play:

If Publisher (above) is underlined then the play may be purchased by direct click from the Publisher, otherwise (below) are AbeBooks for secondhand, signed & 1st eds and other Booksellers for new copies

 

abebooks.com
abebooks.co.uk

stageplays.com

amazon.com

amazon.co.uk

amazon.ca

Genre:

thriller

Parts:

Male

2

Female

-

Parts other:

-

Notes:

-

Synopsis:

Is a monster born or made? Where does our responsibility really lie? Based on the classic horror story by-- Mary Shelley, this gripping new adaptation explores the extraordinary attachment between Dr Frankenstein and his Creation; a bond, they both grow to realise, that only death can break

Further Reference:

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Apart from very popular and world touring productions, many performing arts events are largely forgotten about in a matter of months. Traces may remain in various collections, but few collecting agencies, such as libraries, catalogue each flyer or program individually. Hence, unless one knows that an event took place at a certain time in a certain place, tracking down such an event as part of a research project is often a matter of chance. Where research needs to be carried out on high profile and well-documented productions only, this is not a problem. However, both the historian and the analyst will attest that the cultural, political, or sociological context in which a performing arts event takes place is also of major importance, as are the other events that took place in close proximity, either in place or time. A good overview of such productions provides us with a 'social document' that can greatly enhance cultural studies in ways that extend far beyond the narrow confines of theatre history. For instance, data such as this can be used to monitor the health of communities, particularly when used in association with data obtained from other social science disciplines. When one researches a particular playwright one might want to know about all the productions of plays by that author; if one wants to investigate what choices a particular audience had over a period of history and compare this to, say, an ethnic breakdown of the population, one would need to know broadly all the events that took place during that time. If one wanted to do a statistical analysis on the shift in popularity of a genre over one or more generations, it is important to have knowledge of most of the relevant major and minor performance events that took place. In this context, issues of aesthetic quality and the professionalism of a production - which will of course have an impact on such studies - are not the determining factors when deciding to include or exclude events, since all events are the raw material for such research.