by Holly Dayton | email@example.com
Few people know that Lady Randolph Churchill, Winston’s American mother, was a playwright. If they happen to know of her, they only know her as the mother of Winston Churchill. Yet she wrote three plays over the course of her life: His Borrowed Plumes (1909), The Bill (1913), and Between the Devil and the Deep Sea (1920). Though her first two plays were produced on the West End and all three were donated to the Churchill Archive Centre in 2012, they have never been studied in detail.
This is not wholly surprising, as Lady Randolph was part of a community of female playwrights from the turn of the century that are barely remembered or discussed. Yet, by the late 1800s, more women were playwrights than ever before, attracted by the potential to make a significant profit through their work. Whereas in the early first few decades of the 1800s, a playwright would only receive a small lump sum upfront for their text, by the end of the century one could reasonably hope to receive 10% of the gross profits from a production. A female playwright could, ostensibly, make a tidy profit from a successful play. However, few female playwrights received financial arrangements equally generous as those given to men. Read more
By Zoe Farrell (@zoeffarrell)
One of the many advantages of being a historian who studies other countries is the ample opportunities for travel. My work focuses on artisans and material culture in sixteenth-century Verona, and I have therefore spent a lot of time in Veronese archives. However, I am also interested in how Renaissance culture travelled, especially through the Alps and into Germany. As part of a major fieldwork trip this year, I decided to follow the route of my research to Germany, visiting archives of interest along the way. In total, I visited thirteen archives in three different countries. During this time, I went from eating lunch outside in the piazzas of Italy, to walking through the snow in -14 degrees Celsius in Germany. No two archives were the same and I learnt a vast amount about research, travel, and independence. Here, I will share some of the most important things I learned. Read more
Harriet Lyon (@HarrietLyon) reviews Friedrich Schiller’s play Mary Stuart, adapted and directed by Robert Icke.
What is history if not a series of contingencies? For every thing that happens, an infinite number of other possibilities are extinguished. But what if things had been different? Although writing history certainly involves a good dose of imagination, academic historians have generally tended to be nervous of counterfactuals and their capacity to re-imagine the past. Historical fiction, by contrast, has built a thriving industry on the question of ‘what if?’ What if Germany had won the Second World War? What if John F. Kennedy’s assassin had failed? What if there had been no Protestant Reformation?
By Helen Sunderland (@hl_sunderland)
When I first saw the University Library as a new Cambridge student last October it looked like something from a dystopian novel. The library tower loomed above me – a modernist monument to humanity’s pursuit of knowledge. With the addition of a few slogans on the walls, I thought, it would fit right into Orwell’s 1984. What this says about my sense of trepidation embarking on a PhD aside, the library tower has long been a focus of mystery and myth since it was completed in 1934. Now, the new exhibition Tall Tales: Secrets of the Tower, which opened at the University Library earlier this month, uncovers some of its secrets for the first time.