The Playwrights Database
BRIAN DANIELS
Nationality: British
email: n/a Website: n/a
Literary Agent: Ki Agency
In 1983 Brian Daniels established a human resource consultancy - Daniels Bates Partnership - which he built into a national company over the next 10 years with a turnover of £4.5m. He was approached by writer Kay Mellor in 1994 to work as a co-producer with her on a feature film Fanny and Elviswhich hit the screens in 2000 with Ray Winstone and Kerry Fox. Brian started producing theatre in 1995 with a national tour of Love by Graham Reid and starring Gwen Taylor and Michael Cashman. He produced She Knows, You Know: the Life of Hylda Baker with Jean Fergusson on a national tour and West End run (Olivier Nomination). In 1997 he was appointed Chief Executive/Artistic Director of the New End Theatre, Hampstead and in the next 14 years produced more than 200 new plays including three of his own full length plays (Where's Your Mama Gone, A Big Day for the Goldbergs, and The Good and the True). Brian is a Board Member of the Royal Victoria Hall Foundation. He has also appeared in The She Festival, Tel Aviv, Leeds and London and The Ceremony, a new play by Eva Hoffman. He has also leased the Shaw Theatre, Euston where he produced artists including Dionne Warwick, Eartha Kitt, Michael Feinstein, Chita Rivera and Elaine Stritch. He was a co-owner of the New Players Theatre in the West End and also leased Theatre 503. As a playwright, Brian has had his work produced at the Edinburgh Festival and on tour and has recently been working with the West Yorkshire Playhouse in the development of his new play Don't Leave Me Now. He is currently commissioned to produce off-Broadway The Good and the True for Svandavo Divadlo, Prague.
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below is a list of Brian Daniels's plays - click on a Play Title for more information
Big Day Out For the Goldbergs, A Don't Leave Me Now Good and the True, The Where's Your Mama Gone?Big Day Out For the Goldbergs, A
Synopsis:
Only an hour's show, this is the story of the two daughters of the Goldbergs. they are a Jewish family, with all the 'proper' intentions for their girls despite the wayward path of their father, who has run off with a new girlfriend and children. the older daughter Lucille (elisa Boyd) has found herself engaged to a rich, if selfish, man, and as the big day looms she begins to wonder if she has made the right choice. However the story centres more clearly on the story of the rather more colourful younger daughter Michelle (Emma Gordon), who, with a tongue piercing and a taste for acrobatics, is all ready to run of to join the circus. In her case she really is running off to the big top, but it's to circus school she's headed, ready to carve out a heady career in clowning and children's parties. Will her hystErical mother accept her choices or will convention restrict the happiness of both daughters? Breaking the norms will certainly be a big day out for the Goldbergs.
- Sacha Voit, British theatre Guide
- Sacha Voit, British theatre Guide
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Top of PageDon't Leave Me Now
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Top of PageGood and the True, The
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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
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Top of PageWhere's Your Mama Gone?
Synopsis:
Leeds, 1978. eight year old twins Stephen and Carol lose their mother to serial killer Paul Sutton. Put into care they face a life-long struggle. Will they overcome the traumatic events of their early lives? Or will they remain victims, branded and haunted by the past? and what fate will befall their mother's murderer?
Notes:
inspired by the book Just A Boy by Richard Mccann, the son of Peter Sutcliffe's first known victim
1st Produced:
Leeds, Carriageworks 19 Apr 2011
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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
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Genre:
Play/Drama
Parts:
Male: 2 Female: 4 Other: -
Further Reference:
Theatre Record Volume XXXI (2011) Issue 09 Page 481
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