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Gawen Robinson

GAWEN ROBINSON  

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below is a list of Gawen Robinson's plays - click on a Play Title for more information

 We'll Meet Again

We'll Meet Again

Synopsis:
Set just before the outbreak of World War 2, We'll Meet Again follows the exploits of a group of children as they learn new skills at school - donning gas masks, hearing sirens and being instructed in the safety of the air-raid shelters. At the outbreak of War, we see the children at the railway station making their tearful farewells before evacuation. All this takes place during what was known as the "phoney war" - a time when many parents felt that the threat of bombing had been exaggerated and by early 1940 most of children had returned to their homes. In Act Two, we meet the children back home, bored stiff . But then, as the bombs begin to fall, the decision is made that the children must once more be evacuated to somewhere safe. The musical ends on Armistice Day, 1945 when children and parents are re-united, closing the show with the title song "We'll Meet Again"

Notes:
by Gawen Robinson And Keith Dawson

1st Produced:
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Company:
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1st Published:
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Music:
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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

Booksellers:

Genre:
children's musical

Parts:
Male:  -            Female:  -            Other:  large mixed cast

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.