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Jimmy Porter barely ekes out a living running a candy stall by day and playing jazz trumpet by night. Although he usually takes his frustrations out on his emotionless wife, Jimmy's scathing tongue and self-loathing seem destined to destroy everything. Set in the UK at the dawn of the '60s social unrest, this savage morality tale spawned the phrase “angry young man".
Original music performed by Elliott Caine on the trumpet.
Includes an interview with Dan Rebellato, author of 1956 and All That: The Making of Modern British Drama.
Recorded in Los Angeles before a live audience at The James Bridges Theater, UCLA, in March of 2012.
Directed by Rosalind Ayres
Producing Director: Susan Albert Loewenberg
Steven Brand as Cliff
Moira Quirk as Alison
Simon Templeman as Jimmy
James Warwick as Colonel Redhorn
Joanne Whalley as Helena
Recording Engineer/Sound Designer/Editor: Mark Holden for The Invisible Studios, West Hollywood
Trumpet: Elliot Caine
Sound Effects Artist: Tony Palermo
Music Supervisor: Scott Willis
Spitting out insults and barbs and using words that cut like knives, British actor Simon Templeman takes to the theater and consumes the pivotal role of Jimmy Porter in this live production of John Osborne's 1956 critically acclaimed and groundbreaking examination of the emotional isolation of post-WWII England. As Jimmy's wife, Alison, Moira Quirk's level, nuanced upper-class intonation and accent are the perfect foil. Every time she sounds understanding or affected by her husband, it drives him to newer, more vicious tirades against all those around him. Don't be surprised about how this performance sticks with you. Uncompromising and startling theater at its best.
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- Utente anonimo
Good performance- but not original playtext
I'm currently studying this for my degree and wanted an audiobook of the play to listen to as I read and annotate. The performance is good and very well spoken, the only issue being is that it randomly omits chunks of the playtext- especially Jimmy's speeches at the start of the play. It doesn't omit enough for me to stop using it, as it is still proving a helpful resource, but it is inconvenient as I have to keep pausing and reading from my paperback the gaps in the audio- and I can't quite understand why they omit such parts, it's not like Osborne wrote those lines to be expendable...
It is a shame I have had to give a lower star rating due of this, because it would be a perfect audiobook of the play if it actually included the whole original playtext
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