David Hare is a highly influential British playwright known for his
compelling narratives and sharp social critiques. Born in 1947, Hare's early
experiences and career trajectory reflect a deep engagement with the themes of
virtue, politics, and personal relationships. His works often feature robust
female characters and incisive examinations of British society across various
eras.
Early Life and Influences
David Hare’s entrance into the world began on June 5, 1947, in the coastal
town of St. Leonard’s-on-Sea, Sussex. During his childhood, Hare's father
worked as a ship's purser, traveling on passenger liners between England,
India, and Australia. This left Hare predominantly in the company of his mother
and sister, fostering in him a unique perspective and appreciation for the
qualities he observed in women. This formative experience translated into his
literary work, where he frequently portrays strong, virtuous female characters.
His first play, "Slag" (1970), along with later works like "Plenty" (1978) and
"Skylight" (1995), highlight his interest in exploring complex female
protagonists.
The Fringe Theatre Movement
Hare's career took root during the dynamic and experimental Fringe Theatre
movement in London, spanning the late 1960s and early 1970s. Unlike mainstream
British theatre, which was typically subsidized by the government, Fringe
Theatre was characterized by its experimental approach, often performed in
unconventional venues like warehouses and lofts. Hare secured a position as the
literary manager at the Royal Court Theatre in 1969, which became a pivotal
point in his career. Here, he mingled with pioneering playwrights and actors
who challenged the status quo, while also honing his own voice. His early
plays, such as "England’s Ireland" (1972), a documentary collaboration on the
English occupation of Northern Ireland, and "The Great Exhibition" (1972), a
satirical take on a failed politician, display his penchant for political
commentary.
Gaining Prominence on the National Stage
By the 1980s and 1990s, Hare had broadened his audience, with many of his
works premiering at the prestigious Royal National Theatre in London. This
period marked a shift towards more direct political discourse, as Hare
critiqued the Conservative government under Prime Minister Margaret Thatcher.
His plays, such as "The Secret Rapture" (1988), positioned morally upright
characters against the backdrop of what he perceived as the era's pervasive
greed. Notably, Hare crafted a trilogy dissecting British institutions: "Racing
Demon" (1990), which scrutinized the Church of England and earned him critical
acclaim, "Murmuring Judges" (1991), targeting the British legal system, and
"The Absence of War" (1993), which examined the political landscape of the
time.
Shifting Focus in a Changing Political Climate
With the departure of Prime Minister Thatcher in 1990 and the eventual end
of Conservative dominance in 1997, Hare's thematic focus evolved. Moving away
from broad social critiques, he began to explore more intimate narratives.
"Skylight" (1995) and "Amy’s View" (1996) delve into personal dynamics,
focusing on relationships between lovers and between a daughter and her mother.
In "The Judas Kiss" (1998), Hare explores the life of Oscar Wilde, reflecting
his ongoing interest in biographical storytelling. Meanwhile, "Via Dolorosa"
(1998) marked a personal turn as Hare himself performed this one-man show
across London and New York, sharing his own journey and insights.
Continued Success and Broadway Triumph
David Hare’s influence extends across both the Atlantic, with his plays
receiving significant acclaim in England and America alike. The year 1998 was
particularly notable, as "The Blue Room" joined "The Judas Kiss," "Amy’s View,"
and "Via Dolorosa" on Broadway, marking a prolific period for Hare. His works
continue to resonate, offering sharp observations and rich character studies
that engage audiences and provoke thoughtful reflection.
