Historical Context

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Philosophy of Political Leadership

The tapestry of British history in the 1950s wove threads reminiscent of the late 1980s. During much of the 1950s and spilling into the dawn of the 1960s, the Conservative Party held the reins of power. The indomitable Winston Churchill steered the nation from 1951 to 1955, followed by Anthony Eden's tenure from 1955 to 1957, and then Harold Macmillan's command from 1957 to 1963. The nation, still reeling from the devastation of World War II, found itself in a fragile peace, peppered with the illusions of prosperity. Yet, hopes of growth were often shackled by high interest rates. In a pivotal moment of 1957, Britain chose to stand apart from the European Economic Community (EEC), a burgeoning entity aimed at harmonizing trade and economic interests across the region.

Fast forward to 1989, the Conservatives once more stood unyielding in their governance, having held sway since 1979 under the iron will of Margaret Thatcher. By 1988, after clinching her third electoral victory, she etched her name as the longest-serving prime minister of the era. Her leadership throughout the 1980s saw the dismantling of the post-war social welfare state. Industries such as coal mining were stripped of nationalization, and the formidable trade unions found their powers curtailed. Like her Conservative forebears, Thatcher resisted the pull to integrate into a European-wide currency.

Despite her fervent efforts, the welfare state remained resilient. While pensions and the National Health Service (NHS) endured, they were revamped in 1982 and 1988 to bolster efficiency and accountability. Yet, in the shadow of a languishing economy, many leaned heavily on welfare. Thatcher’s attempt to institute a uniform poll tax in lieu of local property taxes ignited riots across London and beyond, ultimately fracturing support within her own party. By late 1990, she was supplanted by John Major, another figure from her political fold.

Education

In the twilight of the 1950s, the opportunity for higher education in Britain was a rare beacon, with only around four percent of the population and less than three percent of the working class venturing to universities. This stood in stark contrast to the U.S. and other European nations. By the close of the 1980s, the number of British students in universities had grown, yet the percentage relative to the population remained largely unchanged. Education, the ladder to social mobility, was a precarious climb available to few.

Under Thatcher’s helm, sweeping reforms sought to reshape the public educational landscape. Prior to these shifts, an exam at age eleven predetermined the educational trajectory, funneling about 88 percent of British children into comprehensive schools. The Education Act of 1988, championed by Kenneth Baker, introduced a national curriculum, alongside the establishment of more vocational programs and technical colleges, broadening educational pathways in the late 1980s and 1990s. By the decade’s end, mature students flocked to universities, their numbers swelling to approximately 237,000.

Yet, to ascend into the upper echelons of British society, where influence in government, industry, and banking thrived, attending elite public schools such as Eton remained a tacit prerequisite. By 1988, 119,002 students were enrolled in these institutions, a rise from just over 95,000 at the decade’s dawn. Soaring tuition fees further restricted access, confining the corridors of power to a privileged few. As alumni of these schools frequently progressed to prestigious universities like Oxford and Cambridge, educational access continued to sculpt the architects of Britain's future policies.

Style and Technique

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Setting

Shadowlands unfolds amidst the evocative backdrop of the 1950s, primarily within the hallowed confines of Oxford, England. This drama's narrative is deeply rooted in Lewis’ world—his lecture room, his cozy home and study, the bustling main dining hall, and the lively streets that thread through Oxford....

(This entire section contains 589 words.)

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However, the story briefly escapes to a sunlit hotel in Greece during a poignant moment in Act II. The tale begins with a charming encounter over tea at a hotel, where Lewis and Joy meet, accompanied by Douglas and Warnie. Once Joy relocates to Oxford, she establishes her own sanctuary with Douglas, and it is here that Lewis frequently visits. Their subsequent marriage unfolds in an awkward ceremony at the local Registry Office, a necessary step for Joy to remain in England. As Joy's health falters, their most tender moments shift to the sterile confines of a hospital room. The play momentarily steps away from Oxford only for their honeymoon in Greece, a fleeting respite amid her illness. These settings intricately mirror how Joy’s presence reshapes Lewis' existence, illustrating the profound transformation wrought by love and loss.

Staging/Transitions within Acts

Within each act of Shadowlands, Nicholson masterfully orchestrates a series of intimate scenes, using inventive staging to illuminate the play's themes and its complex characters. The clever use of a translucent screen elegantly separates the stage into inner and outer realms, each serving distinct narrative purposes. The inner stage hosts pivotal moments: the Oxford dining hall, Lewis’ study and home, Joy’s residence, the local Registry Office, and her hospital room. Notably, an emotional scene towards the end of Act I breaks this boundary when Joy retreats to read a distressing letter. Meanwhile, the outer stage becomes the canvas for Lewis' introspective monologues, street scenes brimming with life, the hotel tea room, and moments when the outside world encroaches on Lewis' solitude, including the corridor just outside Joy’s hospital room and the Grecian hotel. The interplay of lighting subtly marks the passage of time and transitions between scenes.

A striking staging element is the imposing wardrobe that dominates the backdrop, particularly in the stage’s inner sanctum. This wardrobe is a nod to Lewis’ famed Narnia chronicles, especially The Lion, the Witch and the Wardrobe. Douglas, an ardent admirer of Lewis’ tales, is frequently seen with The Magician’s Nephew in hand. Midway through Act I, after a heartwarming tea with Lewis and Warnie, Douglas whimsically rings a bell, mimicking a character from the book, which raises the screen and transforms the stage into Narnia. He revisits this otherworldly realm in Act II, during the poignant ceremony uniting his mother and Lewis. As Douglas mirrors the story from The Magician’s Nephew, the narrative poignantly underscores that the mythical apple fails to offer a permanent cure for his mother.

Monologue

Each act of Shadowlands is framed by Lewis’ contemplative monologues, shared directly with the audience. Delivered in the style of his renowned lectures, these soliloquies peel back the layers of Lewis' psyche, revealing his inner turmoil and evolution. The core theme—"love, pain, and suffering" and the divine role within it—remains constant throughout. Initially, in Act I, Lewis presents suffering as God's "love in action," discussing it with a detached philosophical air. As Act II begins, his reflections deepen, tinged with personal introspection. By the play's end, Lewis’ monologue transforms into an introspective dialogue, quieter and more meditative, focused on his profound relationship with Joy. The explicit mention of God fades, leaving space for raw, human reflection.

Compare and Contrast

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1950s: The Labour Party holds sway throughout 1951, but for the remainder of the decade, the Conservative Party steers the helm of Great Britain.

Today: Dominating much of the 1990s, the Conservative Party eventually cedes power to a resurgent Labour Party in the later years of the decade.

1950s: At Oxford, men and women navigate their educational journeys in separate colleges. The idea of co-educational institutions remains a distant prospect until the mid-1960s.

Today: Since the mid-1970s, some once all-male bastions have opened their doors to women, although the women’s colleges remain vigilant against reverting to a lesser status.

1950s: Great Britain grapples with the lingering shadows of World War II, its economy, infrastructure, and populace still scarred. Food rationing persists until 1954, and coal remains rationed until 1958.

Today: With World War II’s challenges firmly in the past, Britain faces no more rationing. Yet, economic concerns persist as it gazes toward a European future with aspirations of a shared currency.

1950s: At the dawn of the decade, less than a third of Britons can claim ownership of their homes. Television, washing machines, and refrigerators are rare luxuries within households.

Today: Homeownership has soared, with nearly 70 percent of Britons owning their abodes. The consumer revolutions of the 1960s and 1970s have transformed these once-scarce luxuries into common household staples.

Adaptations

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The mesmerizing narrative of Shadowlands found its origins in a television film crafted by the deft pen of Nicholson. This compelling story first graced screens on the BBC in 1986, eventually enchanting audiences on PBS and A&E. The stellar cast included the illustrious Claire Bloom embodying Joy Gresham and the formidable Joss Ackland portraying Lewis.

In 1993, this evocative tale transitioned to the silver screen, with Nicholson once again weaving the script's intricate tapestry. Under the masterful direction of Sir Richard Attenborough, the film starred the captivating Debra Winger as Joy and the legendary Anthony Hopkins as Lewis, bringing the story to life with great fervor and nuance.

Bibliography

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Sources

Armistead, Claire, ‘‘Visions of Love,’’ in New Statesman & Society, February 9, 1990, p. 42.

Barnes, Clive, ‘‘Stars Shine in Shadowlands,’’ in New York Post, November 12, 1990.

Beaufort, John, Review of Shadowlands, in Christian Science Monitor, November 4, 1990.

James, John, ‘‘Improbable Attachment,’’ in Times Educational Supplement, November 3, 1989, p. 33.

Kissel, Howard, ‘‘Tepid Tea, Anyone?: Shadowlands Conveys Little About Its Celebrated Subjects,’’ in Daily News, November 12, 1990.

Kramer, Mimi, ‘‘Shady Doings,’’ in New Yorker, November 26, 1990, pp. 124–25.

Nachman, Gerald, ‘‘Drama of Oxford Don in Love,’’ in San Francisco Chronicle, November 27, 1990, p. E1.

Nicholson, William, Shadowlands, Fireside Theatre, 1989.

Review of Shadowlands, in Financial Times, October 24, 1989, p. 25.

Review of Shadowlands, in Variety, November 12, 1990, p. 68.

Rich, Frank, Review of Shadowlands, in New York Times, November 12, 1990, p. C11.

Richards, David, ‘‘Why Breaking Up Is Hard to Do,’’ in New York Times, November 18, 1990, sec. 2, p. 5.

Stuart, Jan, ‘‘Probing the Humanity of C. S. Lewis,’’ in New York Newsday, November 12, 1990.

Weales, Gerald, ‘‘Partially Observed,’’ in Commonweal, February 8, 1991, pp. 99–100.

Wilson, Edwin, Review of Shadowlands, in Wall Street Journal, November 23, 1990.

Further Reading

Finkle, David, ‘‘For C. S. Lewis, Does Love Conquer All?’’ in New York Times, November 4, 1990, pp. H1, H5. This article gives background on the relationship between Lewis and Gresham, how Nicholson came to write both the television movie and play, and the stage production.

Green, V. H. H. A History of Oxford University, B. T. Batsford, Ltd., 1974. This nonfiction book gives the historical background at the institution where Lewis taught for many years and is used as a setting in Shadowlands.

Gresham, Douglas H., Lenten Lands, Macmillan, 1998. This book by Joy Gresham’s son who is a character in Shadowlands, describes his perspective on the relationship between his mother and Lewis.

Wilson, A. N., C. S. Lewis: A Biography, Collins, 1990. This is the definitive biography of Lewis and includes information about his relationship with Gresham.

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