Boon, Richard. Brenton, the Playwright. London: Methuen, 1991. Part of a series of brief volumes on modern and contemporary dramatists, intended primarily for students. Boon, a leading authority on Brenton’s work, provides an accessible overview of the playwright’s career.
Brenton, Howard. “Petrol Bombs Through the Proscenium Arch: An Interview with Howard Brenton.” Interview by Catherine Itzin and Simon Trussler. Theatre Quarterly 5 (March-May 1975): 4-20. An interview with production photographs of Christie in Love and other plays. Brenton discusses whether “fringe” theater had failed by 1975 and states his famous dictum “You don’t write to convert. More to stir things up.”
Bull, John. “Portable Theatre and the Fringe.” In New British Political Dramatists: Howard Brenton, David Hare, Trevor Griffiths, and David Edgar. London: Macmillan, 1984. In this major chapter on Brenton, Bull notes the playwright’s preoccupation with children in his early work and sees his characters as inhabiting an urban England.
Caulfield, Carl. “Moscow Gold and Reassessing History.” Modern Drama 36 (December, 1993): 490-498. A brief but informative article focusing on the creation and production of Moscow Gold. Caulfield argues that the play illuminates a watershed in Brenton’s political thinking, the need to reassess politics and history in the light of the failure of Soviet and European communism.
Comish, Roger. “Howard Brenton.” In British Dramatists Since World War II, edited by Stanley Weintraub. Vol. 13 in Dictionary of Literary Biography. Detroit: Gale Research, 1982. A helpful intrduction to Brenton’s life and works.
Mitchell, Tony. File on Brenton. London: Methuen, 1988. One of a series by Methuen designed for the information age. The volume is a valuable information source, organized by play title, with critical comments, review clippings, and similar data, quickly retrieved.
Rusinko, Susan. British Drama 1950 to the Present: A Critical History. Boston: Twayne, 1989. Brenton’s plays are briefly outlined chronologically, quoting as a central theme his famous comment, “When it comes to agitprop, I like the agit, the prop I’m very bad at.”
Wilson, Ann, ed. Howard Brenton: A Casebook. New York: Garland, 1993. A collection of original essays, many of them by well-known scholars. Each chapter focuses on a different major play or addresses a different aspect of Brenton’s large body of work.