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Last Updated: 21 Jan 12

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Sally Wyatt

SALLY WYATT   

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

Literary Agent:  n/a

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Plays by Sally Wyatt

On The Borderline

1st Produced:

written by Sally Wyatt and Clara Armand2It all happens during the night of a charity do. A pair of strangers arrive to make people do what they have never planned to do. A tough businessman spends hours dreaming, a feisty streetwise girl, whose main source of income was blackmailing, throws the money she has earned in the sea, and a hitman hits the wrong target.27 May 20101

27 May 2010

Company:

Interanimation Theatre production

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

#110848

To Buy This Play:

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amazon.ca

Genre:

Play/Drama

Parts:

Male

1

Female

2

Parts other:

-

Notes:

written by Sally Wyatt and Clara Armand

Synopsis:

It all happens during the night of a charity do. A pair of strangers arrive to make people do what they have never planned to do. A tough businessman spends hours dreaming, a feisty streetwise girl, whose main source of income was blackmailing, throws the money she has earned in the sea, and a hitman hits the wrong target.

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.