Setting
Salford and Its Industrial Landscape
Salford, a town nestled adjacent to Manchester in England's industrial Midlands, serves as the evocative setting for Shelagh Delaney's play A Taste of Honey. It also happens to be the birthplace and hometown of the playwright herself. Although the play’s text specifies this locale, the initial stage directions intriguingly place the events "in Manchester." Historically, Manchester has been a hub of the textile industry since the fourteenth century, known for its densely packed population, although not its size. Amidst the bustling Port of Manchester docks, Salford officially became part of Greater Manchester in 1974. The skyline is dominated by factories, cementing the town's identity as a working-class enclave.
The Stark Reality of Helen and Jo’s Flat
Within this industrial backdrop lies Helen and Jo's flat—a microcosm of the harsh realities faced by its inhabitants. Described in Delaney’s stage directions as "comfortless," this semifurnished apartment is the latest in a long line of similarly dismal lodgings that Helen, an alcoholic "semi-whore," and her teenage daughter Jo have called home. Each new residence they occupy becomes increasingly dilapidated, cheaper, and more wretched than the last. The flat features only a single bed, and, as Helen wryly points out, "everything in it's falling apart... and we've no heating—but there's a lovely view of the gasworks, we share a bathroom with the community and this wallpaper's contemporary."
Adding to the squalor, Jo remarks that fifty thousand people reside in tenements flanked by a cemetery and a slaughterhouse. Such scenes of urban decay had rarely graced the English stage before, providing a jarring contrast to the polished worlds depicted in the works of playwrights like Noel Coward. This grim setting of Delaney's flat is even more dismal than the apartment showcased in John Osborne's Look Back in Anger, a seminal work of the "angry young men" movement that premiered in 1956. London theatergoers, much like the readers of Émile Zola’s novels decades earlier, found themselves both shocked and captivated by Delaney's gritty realism, which laid bare the stark existence of lower-class characters and the bleak events that unfolded within their lives.
The play's setting becomes more than mere background; it is a living, breathing aspect of the narrative that underscores the themes of struggle, survival, and societal neglect. Delaney's Salford and the unvarnished existence within Helen and Jo's flat offer an unflinching look at the reality of working-class life, sparking both conversation and contemplation among its audience.
Historical Context
The post-war era in England was a period marked by the lingering shadows of World War II, economic disparity, and an urgent need for social change. As the nation grappled with its recovery, literature emerged as a powerful tool for highlighting the struggles and frustrations of the working class. "A Taste of Honey," a seminal play from this period, captures the essence of a society in transition, embodying the voices of those who felt marginalized and disillusioned by the prevailing class disparities.
The Aftermath of World War II
The devastation of World War II left a significant imprint on England. The "Blitz," a relentless bombing campaign that began on September 7, 1940, forced many children to the countryside for safety and enlisted women in their twenties into wartime service. Essential goods such as food and fuel were strictly rationed, and the damage inflicted by the V2 ballistic missiles in 1944 added to the city's wounds. Unlike America, which returned to a state of economic prosperity, Britain faced a prolonged period of rebuilding both physically and emotionally. The war’s end did not erase memories of destruction and loss, and the...
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nation’s spirit was tested as it struggled to restore its former way of life.
Economic Disparity and the Rise of the "Angry Young Men"
In stark contrast to the American post-war economic boom, many Britons relied on government relief due to widespread unemployment and poverty, exacerbating a sense of despair. This socio-economic climate birthed a generation of writers known as the "Angry Young Men." Their works resonated with themes of protest and disillusionment, criticizing the upper classes for their complacency and reluctance to support the lower classes. Authors like John Osborne, Kingsley Amis, Alan Sillitoe, and John Braine crafted narratives featuring antiheroes who embodied the frustrations of the working class.
Lending a Voice to the Voiceless
During this period, a new literary movement gave voice to the working class for the first time. These writers, often from modest backgrounds themselves, portrayed a raw depiction of life, asking "what is real?" Their answer: poverty, dead-end jobs, and the struggle for survival were the realities for the majority. While the affluent quickly returned to their pre-war lifestyles, the situation for laborers remained bleak. The expectation that post-war prosperity would uplift all classes was unmet, as only a small portion of the population enjoyed significant economic advances.
"A Taste of Honey" and Its Impact
"A Taste of Honey," written by Shelagh Delaney, emerged as a crucial voice in advocating for social awareness. Although Delaney distanced herself from the "Angry Theatre" label, her play illuminated the dire circumstances of the lower classes. Her work depicted characters entrenched in the struggles of everyday life, offering an authentic portrayal that resonated deeply with audiences. The play underscored the necessity of giving the working class a platform to express their realities and aspirations.
Cross-Atlantic Comparisons
While American workers thrived in the pursuit of the "American Dream," enjoying rising wages and a burgeoning middle class, their British counterparts faced a starkly different reality. Economic stagnation and class barriers stunted progress for many, heightening the urgency for social change. Literature became a means of empowerment for the working class, providing a forum for their grievances and demands for equity.
Overall, the post-war period in England was characterized by a complex interplay of recovery, economic disparity, and a burgeoning demand for social justice. Through literature and plays like "A Taste of Honey," the era's writers captured the zeitgeist, making tangible the struggles of those who felt silenced by the status quo. These narratives challenged societal norms, urging both reflection and action toward a more equitable future.
Style and Technique
In the late 1950s, a new wave of British writers, known as the "Angry Young Men," emerged, expressing deep dissatisfaction with post-war English society. Their works often featured antiheroes struggling against a rigid social order. Amidst this backdrop, Shelagh Delaney’s play A Taste of Honey surfaced, not as a deliberate inclusion in this movement but as a raw portrayal of working-class life, unflinchingly spotlighting the stark realities without overt rebellion or protest.
Echoes of the Angry Theatre
Although Delaney didn't intentionally align herself with the "Angry Young Men," critics naturally associated her work with this movement due to its candid portrayal of working-class struggles. Unlike the protagonists in John Osborne’s work, Delaney’s characters in A Taste of Honey—Jo, Helen, and Geof—do not actively seek to alter their circumstances. They navigate their lives with a certain passivity, embracing realism over rebellion. Delaney’s aim was to shed light on their experiences authentically, rather than channeling a revolutionary spirit.
Engaging the Audience
Delaney wrote A Taste of Honey with actors in mind, giving them substantive roles that allowed for genuine expression. Unique to this play is the technique of breaking the fourth wall, where characters directly address the audience. This approach fosters an active engagement, drawing audiences into a dialogue with the play’s world, and offering them a direct connection to the working-class struggles depicted on stage. Many original viewers had never been exposed to such social realities, making this interaction both enlightening and impactful.
Character and Characterization
Characters in dramatic works are pivotal, and Delaney’s play provides a platform for exploring complex personalities. Jo’s journey—her endurance in the face of abandonment—serves as the narrative's backbone, with her character defined by resilience and vulnerability. Through careful characterization, Delaney molds lifelike figures whose behaviors and moral compasses offer depth to the storyline. Her characters defy simple stereotypes, instead presenting multifaceted individuals who reflect the very essence of human complexity.
Defining Genre
A Taste of Honey is classified as a realist, modern drama. The concept of genre helps categorize literature into various forms, whether it be comedy, tragedy, or other modern iterations like drama or novels. In this play, realism takes center stage, portraying everyday life with unvarnished truth. Delaney’s work fits snugly within this genre, highlighting societal issues without overt dramatization, thereby grounding her narrative in authenticity.
Unfolding the Plot
The plot of A Taste of Honey traces Jo’s evolution as she comes to terms with her mother’s neglect and musters the strength to forge her path. While traditional plots typically feature a clear beginning, middle, and end, Delaney’s work can be likened to episodic storytelling, reminiscent of Brechtian techniques. Here, the storyline is less about resolution and more an exploration of themes, particularly the intricacies of the mother-daughter relationship. This journey emphasizes emotional survival over conventional plot progression.
Setting the Stage
Setting plays a crucial role in framing the play’s narrative. In A Taste of Honey, the action unfolds in a decrepit flat within a poor neighborhood, authentically embedding the characters within their socio-economic context. The timeline spans approximately nine to ten months, paralleling Jo’s pregnancy, which serves as a metaphorical backdrop for the unfolding drama. This setting is not just a backdrop but an integral component that shapes the characters’ lives and interactions.
In A Taste of Honey, Delaney crafted a narrative that, while echoing elements of the "Angry Theatre," stands apart through its commitment to authentic representation of the working class. Her ability to engage audiences through character-driven storytelling, direct interaction, and a realistic portrayal of life’s challenges ultimately enriches the fabric of modern drama.
Compare and Contrast
1958: Colin Clark, an English Roman Catholic economist, denounces birth control. He argues that while population growth challenges agrarian societies, it also drives advancements in industry, commerce, political leadership, and science.
Today: Birth control remains a hotly debated topic, with protests against abortion often marked by violence, including murders and bombings.
1958: Agatha Christie's Mousetrap becomes the longest-running play in British history, surpassing 2000 performances. Terrance Rattigan’s Variations on a Theme, which premiered on May 8, is noted for inspiring Delaney to write A Taste of Honey due to its perceived lack of substance.
Today: Both Mousetrap and A Taste of Honey continue to be staged in regional theatres, while Variations on a Theme has faded into obscurity.
1958: The Clean Air Act, enacted in 1956, comes into effect. This legislation marks Britain's effort to reduce deaths in London and other industrial cities caused by factory emissions and coal-burning pollution.
Today: Although cars still contribute to pollution, coal-burning has significantly decreased. Britain continues to clean public buildings, which for years have been coated in soot from coal combustion.
1958: For the first time, the British government permits women to sit in the House of Lords.
Today: With Margaret Thatcher having served as Prime Minister for several years, women in Britain's Parliament are now a common presence and no longer considered unusual.
Media Adaptations
A Taste of Honey was transformed into a film in 1961, achieving widespread popularity and garnering several critical accolades. The movie features performances by Rita Tushingham, Robert Stephens, Dora Bryan, Murray Melvin, and Paul Danquah. Tony Richardson directed the film and co-wrote the screenplay with Delaney.
Bibliography and Further Reading
Sources
Aston, Frank. Review of A Taste of Honey in the New York World
Telegram, October 5, 1960.
Barnes, Clive. Review of A Taste of Honey in the New York Post, May 6, 1981.
Beaufort, John. Review of A Taste of Honey in the Christian Science Monitor, May 6, 1981.
Boles, William. “‘Have I Ever Laid Claims to Being a Proper Mother?’ The Stigma of Maternity in Shelagh Delaney’s A Taste of Honey” in Text and Presentation, Vol. 17, 1996, pp. 1-5.
Chapman, John. Review of A Taste of Honey in the Daily News, October 5, 1960.
Coleman, Robert. Review of A Taste of Honey in the New York Mirror, October 5, 1960.
Kalem, T. E. Review of A Taste of Honey in Time, July 6, 1982.
Kerr, Walter. Review of A Taste of Honey in the New York Herald Tribune, October 5, 1960.
Kroll, Jack. Review of A Taste of Honey in Newsweek, July 20, 1981.
McClain, John. Review of A Taste of Honey in the New York Journal American, October 5, 1960.
Rich, Frank. Review of A Taste of Honey in the New York Times, April 29, 1981.
Taubman, Howard. “Theatre without Illusion” in the New York Times, October 5, 1960.
Taylor, John Russell. “Way Down East: Shelagh Delaney” in The Angry Theatre: New British Drama, revised edition, Hill and Wang, 1969, pp. 117-40.
Watt, Douglas. Review of A Taste of Honey in the Daily News, April 29, 1981.
Watts Jr., Richard. Review of A Taste of Honey in the New York Post, October 5, 1960.
Whitehead, Susan. “Shelagh Delaney” in Concise Dictionary of British Literary Biography, Vol. 7: Writers after World War II, 1945-1960, Gale, 1991.
Further Reading
Campbell, Louise. Coventry Cathedral: Art and Architecture in Postwar
Britain, Clarendon Press, 1996. This book, while focusing on a single
building, explores how its construction reflects many significant Postwar ideas
and trends in architecture during the 1950s and 1960s in England and
Europe.
Ellis, Peter Berresford. A History of the Irish Working Class, Pluto Press, 1996. This book delves into the economic, political, and social factors that have shaped the working class in Ireland.
Jones, Gareth Stedman. Language of Class, Cambridge University Press, 1984. This compilation of essays by a British social historian examines the nature of class consciousness and key issues affecting Britain’s working class.
Taylor, John Russell. The Angry Theatre: New British Drama, Hill and Wang, 1969. This book includes biographies of playwrights along with discussions of their individual works.
Throop, Elizabeth A. Net Curtains and Closed Doors: Intimacy, Family, and Public Life in Dublin, Bergin & Garvey, 1999. This book explores family life in Dublin and the influences of religion, society, and English colonialism.
