Playwright : The Cagebirds

What I got from reading the script on what the play was about and how it used description to metaphorically show what birds had in correlation with his play. The author states that no character is based on a specific bird, but they could have bird-like characteristics, particularly in movement. Their bird- like problems can be translated into human terms with no beaks or wings but there indicated by a walking stick,  feather boa etc things like that. The costumes are designed to depict the colours of a suitable bird but in a subtle way in like makeup or costume. Each bird seems to have its own particular repetitive song, but the intent behind the words should be made obvious in each different scene. Exploring the emotions behind the words spoken and finding the true meaning helped me understand the collective song they sung. My intention is that all the characters, apart from the Mistress, will be played by people that all show different aspects of each personality within there own way .

 

David’s bibliography:

Campton was born in Leicester, in 1924. He was educated at Wyggeston Grammar School for Boys. From 1942 to 1945, he served in the RAF, and then, for another year, in the Fleet Air Arm. He worked as a clerk in the City of Leicester Department of Education until 1949 and then moved to the East Midlands Gas Board, where he worked until 1956. Campton worked with Stephen Joseph in developing theatre in the round in Britain and played a major role in establishing theatre-in-the-rounds in both Scarborough, North Yorkshire (now in the well-known Stephen Joseph Theatre, a converted 1930’s Odeon cinema) and Staffordshire in the English West Midlands. He worked as writer, actor and also regularly ran the box-office and front-of-house. Campton always credited himself with giving a young Alan Ayckbourn one of his first jobs at Scarborough with the immortal words, ‘watch me my boy and one day you might become a playwright like me!’

David Campton 2nd May 1924 – 9 September 2006 was a British dramatist who wrote plays for the stage, radio, and cinema for thirty-five years. “He was one of the first British dramatists to write in the style of the Theatre of the Absurd”.
In performance reviews of productions of Campton’s play The Lunatic View: A Comedy of Menace and The Birthday Party, by Harold Pinter, published in the short-lived British drama magazine Encore.