Biography (Critical Survey of Drama, Second Revised Edition)
David Hare was born in Bexhill, England, on June 5, 1947, the son of Clifford Theodore Rippon and the former Agnes Gillmour, his wife. Hare was first educated at Lancing College (among his classmates were future playwright Christopher Hampton and lyricist Tim Rice) before going on to Jesus College, Cambridge, where he earned a master’s degree, with honors, in 1968. Hare began writing plays at the age of twenty-two. In 1970, his first full-length play, Slag, about three women teachers locked in a power struggle over a failing English boarding school, won for him the Most Promising Playwright Award granted by the Evening Standard, even though the play was not favorably received by some feminists, who considered the playwright to be sexist; others went so far as to call him a misogynist. The New York Times drama critic Clive Barnes described Slag as a metaphor for the decline of English society, following Hare’s suggestion that the play was not so much about women as institutions. Also in 1970, Hare married Margaret Matheson, a marriage that produced three children before ending in divorce in 1980. In 1992, he married Nicole Farhi, a designer.
From the beginning of his theatrical career in 1968 when he cofounded the Portable Theatre (with Howard Brenton and Snoo Wilson), an experimental troupe that toured Great Britain, Hare demonstrated an interest in creative dramatic collaboration and in theatrical direction, as...
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Biography (Cyclopedia of World Authors, Fourth Revised Edition)
David Hare is one of England’s most important playwrights of the latter quarter of the twentieth century. The son of Clifford and Nancy Gilmour Hare, he has spoken feelingly of the sacrifices his sailor father made to send him to the good British public school, Lancing. Hare went on to earn an M.A. with honors in English from Jesus College at Cambridge University in 1968. His first interest in the theater as a profession began while he was at the university, although it was his family’s hope that he might become an accountant.
After college Hare, together with Howard Brenton and Snoo Wilson, formed a traveling company of players appropriately called the Portable Theatre. Between 1968 and 1971 he was on the road, living hand-to-mouth with the band of young actors and producing plays by hopeful, unestablished playwrights. In addition to helping to manage the company, Hare was involved as a director and, eventually, a writer. During this time he also established a connection with the Royal Court Theatre in Sloane Square, Chelsea, which has a long tradition as the center for drama of social importance and artistic experimentation. His work for that company as a literary manager anticipated an important aspect of his later work in the theater.
The idea that drama is a form of casual entertainment has been assailed constantly in Europe since the last half of the nineteenth century. Critics such as Émile Zola, and, more significantly, playwrights such as Henrik Ibsen have demanded a social, sometimes a political role for the theater and have often achieved it with great success. The Royal Court Theatre has often been the venue for British examples of serious drama, indeed, any kind of drama that attempted to examine the hypocrisies, the immorality, the evils of modern society. George Bernard Shaw’s work was originally produced at the Royal Court, and after World War II the new wave of socially critical drama, which was called the kitchen-sink school of drama and led by John Osborne, became associated with this theater. Hare is a second-generation representative of the movement, which included Osborne, Arnold Wesker, John Arden, and Harold Pinter.
In 1970 Hare married Margaret Matheson, and they had three children before divorcing in 1980. For a time he was the resident dramatist at the Royal Court, and in 1973 he took the same position with the Nottingham Playhouse. Slag, his play about three young women determined to make a life of their own without men, won the 1970 Evening Standard award as work of “the most promising playwright” of the year and revealed one...
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IntroductionWith titles like Slag, Licking Hitler, and The Judas Kiss, it is a good bet that David Hare’s plays are going to push the envelope. And he doesn’t disappoint. Hare is a prolific British playwright who is not afraid to honestly critique the society in which he lives. In fact, Hare’s contempt for and love of his country are apparent in most of his works. He began as a left-wing fringe writer and cofounded a traveling theatrical group called the Portable Theatre, which aimed to take drama to places where it could not usually be found: poor, downtrodden neighborhoods. Today, Hare’s writing remains deeply political, but unlike other social commentators, he manages to successfully balance the political with the very personal in his work.
- David Hare is a Fellow of the Royal Society of Literature. He was also knighted in 1998.
- Hare has also explored issues in the Middle East. In 1998, he wrote and performed Via Dolorosa about a visit he made to Israel and Palestine.
- Hare has adapted many other playwrights’ works, including Anton Chekhov’s Platonov and Ivanov and Bertolt Brecht’s Mother Courage and Her Children. His most recent project is a film adaptation of Jonathan Franzen’s novel The Corrections.
- Hare is married to Nicole Farhi, a fashion designer from Algeria.
- In 2003, Hare was nominated for an Academy Award for his work on the highly praised film The Hours.
British playwright David Hare was born on June 5, 1947, in St. Leonard’s-on-Sea in Sussex along the southeastern coast of England. Though he doesn’t like ‘‘psychologizing,’’ or over-emphasizing the importance of his early years to his current artistic output, in an interview with Mel Gussow published in the New York Times Magazine, Hare admitted his birth was ‘‘on the wave of postwar optimism. Everyone came home from the war and had children. Bang on the day I was born, the Marshall Plan was announced, and Europe became Europe.’’ Accordingly, like many of his contemporaries, this Postwar period in British history has figured prominently in Hare’s plays.
Hare began his career in the ‘‘Fringe Theatre’’ movement of London in the late-1960s and early- 1970s. He was a literary manager at the Royal Court Theatre in 1969, where he earned about $15 a week plowing through dozens of hopeful manuscripts in search of produceable material. It was a time of artistic experimentation, revolutionary writing, and anti-establishment politics. Some of his earliest plays include England’s Ireland (1972), a collaborative documentary play about political controversy and bloodshed caused by the English presence in Northern Ireland; Fanshen (1975), an adaptation of William Hinton’s novel about the Chinese Revolution; and Plenty (1978), an original work about the failure of Great Britain to live up to its post-World War II promise.
Hare has long since graduated from the Fringe movement to popular acclaim and public subsidy at the Royal National Theatre in London, where most of his plays have originated during the past twenty years. Throughout the 1980s and early-1990s, he was particularly known for criticizing the Conservative government of Prime Minister Margaret Thatcher in his plays. The Secret Rapture (1988) concerns three women struggling to thrive in the greed and excess of 1980s Thatcherite England. In an amazing feat of journalistic research and creative fiction writing in the early-1990s, Hare tackled the Church of England, Britain’s legal system, and English politics in a trilogy of plays about British social institutions. Racing Demon (1990) earned Hare an Olivier Award for best play in London’s West End as well as an Antoinette ‘‘Tony’’ Perry Award for best play on Broadway. Murmuring Judges (1991) and The Absence of War (1993) completed the series, which was presented in its nearly nine hour entirety at the National Theatre.
Since England’s liberal Labour Party recaptured the goverment in the mid-1990s, some of the political fervency has left Hare’s writing, and he has been drawn toward other forms of drama. His popularity, however, is as stong as ever, particularly in America. Skylight (1995) and Amy’s View (1996) are intimate portrayals of individual relationships between a woman and her lover and a girl and her mother, respectively. The Judas Kiss (1998) is a biographical story about playwright Oscar Wilde (The Importance of Being Earnest), and Via Dolorosa (1998) is a one-man, staged autobiography that Hare himself performed in London and New York. When The Blue Room, an adaptation of Arthur Schnitzler’s Reigen, appeared in New York in the fall of 1998, it joined The Judas Kiss, Amy’s View, and Via Dolorosa as one of four new Hare plays to appear on Broadway within a single year.