Company Name: Joint Stock Theatre Company (1974-1989)
Founders: David Hare, David Aukin, Max Stafford-Clark.
Established: 1974
Purpose: Umbrella company for new work and projects of the founders; subsequently reshaped as a company presenting work created through research and workshops in an author-led devising process that came to be called the Joint Stock Method and striving to enact socialist principles in company management.
Current Status: Company disbanded in 1989, three years after losing revenue funding from the Arts Council of Great Britain. Some of its methods where continued by Out of Joint from 1993 to the present. Out of Joint continues to produce, but more as a traditional new writing company.
Area of Work: New Writing. Investigative, documentary, and socialist theatre.
Policy: Max Stafford-Clark and Bill Gaskill led the company collective from 1975-1981. Joint Stock was run by collective management and policy committees through the 1980s, latterly a triad of artistic directors formed a Council of Management emerged to address concerns about designated leadership and financial responsibility: Souad Faress, Karim Alrawi, and Nick Broadbent were the Council from 1985-1987; Broadbent, Alrawi, and Carol Procter served from 1987-1989.
Signature: Incisive plays about class relations and social change, based on the company’s documentary research and ethnographic residencies, framed by a playwright’s vision and distilled by the writer’s voice. The company made plays focused on specific communities, professions, historical periods, and social crises, including: the Chinese cultural revolution; 19th century trades union training and activism; seventeenth century religious millennialism and the Cromwell revolution; the growing British Asian community in contemporary London; World War I hospitalization on country estates; the sexual revolution; agricultural wok in the Fenlands; British military escapades in Algeria; reporters at the Tory Party convention; homelessness and new age spirituality in Britain; nuclear power plants and environmental crises in the UK and Africa.
Funding: Joint Stock launched with project grants, and then received Arts Council Great Britain revenue funding from 1975 until 1985, with grants increasing yearly until cuts to the Arts Council translated to cuts to companies across the board. Joint Stock funding provided for the research and workshop period for play creation, as well the rehearsal and performance of tours of the resulting plays. One point of contention was that actors were not paid during the ‘gap’ during which the writer wrote the script between the workshop and rehearsals. In its last years, Joint Stock returned to project grants to fund single shows.
Based: In London; often rehearsing in St. Gabriel’s Parish Hall and Riverside Studios early on, and with offices in Tottenham Court Road by the 1980s. In 1977, the company briefly planned to have a permanent base at the Round House, which did not come to fruition past that season.
Performance Venues: Royal Court Theatre, ICA, Dartington Arts College, Riverside Studios, Almeida, Drill Hall, Roundhouse, Oval House, the Soho, and reginal theatres, community centres, and arts centres throughout the UK, especially the Birmingham Rep and the Crucible in Sheffield.
Audiences: General
Company Work and Processes: The Joint Stock method consisted of an exploratory workshop for research and exploration of a topic during which actors, director, designer and the writer lived together, travelled together, shared readings, and conducted interviews or other immersive and ethnographic way of gathering knowledge. Also central to the workshops were processes of self-reflection, ‘truth sessions,’ or other ways of connecting the topic to the artists’ personal lives. Then, during a ‘gap’ period for the other artists, the author composed a script. The collective reassembled to rehearse the play and prepare to perform it on tour. In the 1980s, Joint Stock committed to a policy of casting shows with equal numbers of men and women and equal numbers of white actors and actors of colour.
Personal Appraisals and thoughts:
‘The shift in the company’s policy that occurred when Max, Bill, and David Hare were working on Fanshen was obviously a turning point. Sitting around in a circle in the rehearsal room, the company examined its own structure and organisation, and concluded that the company belonged to the co-operative of actors, directors, designers, and administrators; no longer would Max or Bill or David or I be responsible as ‘management’ for running the company and deciding the project. That would be done by the collective, and, quite uniquely possibly, for this country at least, a formula was developed whereby the company would function as a shifting collective; the current company would be responsible for setting up the next project and, like a chain letter, the next company would do likewise.’ (David Aukin in The Joint Stock Book)
‘Rehearsals were at once exhilarating and intimidating. We did a lot of exercises in public speaking, speaking persistently on different subjects for set lengths of time, being heckled by other members of the company (…) We roamed around the rehearsal room above a pub in Camden Town, watched, hawk-eyed, by Bill, magisterial and austere, and Max, coaxing and encouraging. Heathcote [Williams] flitted about, rarely still, dispensing wisdom (…) A new approach to acting was need to suit the context, a certain kind of reality is demanded when you are talking to your audience only a few feet away, a certain kind of truth. Actually it’s the same truth you seek in all acting, but here it was distilled, in close up.’ (Roger Lloyd Pack, on Joint Stock’s first production, of Heathcote Williams’s The Speakers, in The Joint Stock Book)
‘I remember…
Suggesting the Board consider more projects by women and being told there were no plays by women because women had nothing to write about – they hadn’t done anything in the world.
Learingn T’ai Chi.
Meetings that seemed to last for days.
Complaining about the size of the women’s parts in Fanshen and the distribution of them and being told men ran the revolution not women; and anyway it would tax our imagination enough learning how to play a Chinese peasant.
Self-criticism. Always ended in a slanging match.
Fleas in the rehearsal room carpet.’ (Carole Hayman in The Joint Stock Book)
‘The workshop for Cloud Nine was about sexual politics. This meant that the starting point for our research was to talk about ourselves and share our very different attitudes and experiences. We also explored stereotypes and role reversals in games and improvisations, read books and talked to other people. Though the play’s situations and characters were not developed in the workshop, it draws deeply on this material, and I wouldn’t have written the same play without it.’ (Caryl Churchill on Cloud Nine in her introduction to Plays One)
‘One of the great things about a company like Joint Stock was that it politicized its members, quite apart from any artistic performance. And I had my ideas changed. I remember being accused at one meeting of changing my mind and I said, well…I’d listened to the arguments and I’d seen that I was wrong and I agree now with what other people told me. I changed my mind about the nature of mixed casting, and how to work that. Surely that was the point, that was the whole point!’ (Paul Jesson on the 50:50 policy in an interview with Sara Freeman)
‘Well, in perfect hindsight, I think we should have done as Caryl suggested and close up shop earlier.’ (Souad Faress, reflecting on debates from 1985 and 1986 about the company’s future in an interview with Sara Freeman)
Reviews:
‘Caryl Churchill’s Cloud Nine at the Royal Court is an outrageously outspoken comedy about sex. It has great fun contrasting old-time sexual hypocrisy with present-day permissiveness. (…) The first half of the play is the funnier with the straight-laced family revealed as a nest of Tartuffes. In the second, the various permutations, clinically observed, began too early to lose my interest in who did what, and with which, to whom. However, it is clear that the excellent Joint Stock Group, under the direction of Max Stafford-Clark, are serious in their study of sexual urges and deviations. The approach is never merely funny. Cloud Nine explodes myths and shines a curious torch into dark erotic corners with honesty and an all-saving sense of humour. In a brilliant cast of seven, Julie Covington plays both a schoolboy and a matron. Antony Sher both a stuffy father and a child of six. Others changed wigs, sexes and amatory tastes with equal dexterity. A fascinating evening, but emphatically not one for prudes.’ (John Barber review of Cloud Nine in the Daily Telegraph 30 March 1977)
‘[Brenton] gets an excellent production from the Joint Stock Company whose nine members play about eight parts each with marvellous agility. Their style is a blend of meticulous observation and lunatic comic invention. I shan’t easily forget Tony Rohr being led on as a Horse, naked except for a leather harness and eyeing his surroundings with glinting animal suspicion. The Joint Stock, under Max Stafford-Clark, are fast becoming the best and most versatile company in what is still rather bizarrely called Fringe theatre. Their work ranges from tough political exposure (Yesterday’s News) to hilarious knockabout entertainment. They are creating the sort of popular theatre Joan Littlewood used to dream of: both committed and accessible.’ (John Peter review of Epsom Downs in the Sunday Times, 14 August 1977)
‘An Optimistic Thrust (Young Vic) is a heavily sardonic title for a series of improvisations by the Joint Stock Company and William Gaskill partly on literary themes, partly on political ones, partly on ‘situation’ — in other words, nothing in particular. It is a combination of literary earnestness, goonish humour, and artistic navel-gazing of which only English experimental groups are capable: an awful example of what can happen when a brilliant director and six talented actors (such as Julie Covington and David Rintoul) get together with nothing much to say.’ (John Peter review of An Optimistic Thrust in the Sunday Times 16 March 1980)
‘In Joint Stock’s richly peopled, Rabelasian Promised Land, Radi/Rudy becomes entangled in others’ histories, others’ lives. Because of this concentration on the personal, the political points the play makes are never allowed to become simple or theoretical (…) This play is billed as a comedy: it is very funny, it also has a lot more depth than many plays which would be billed as ‘serious pieces.’ Its language is at times rich and poetic, stark and ritualistic at others and liberally peppered throughout with stories, jokes, saying, and riddles. It is is also (oh joy of joys, when so little seems to be) wildly theatrical and visually delightful…Watch out for the flight of the arch angel, which is one of the most beautiful things I’ve seen in a theatre.’ (Isabel Arro review of Promised Land in What’s On 16 November 1988)
Productions:
| Production | Venues | Date |
|---|---|---|
| The Speakers Adapted by the Company from Heathcote Williams Directors: William Gaskill and Max Stafford-Clark | Birmingham Repertory Studio; tour | 1974 |
| Shivvers Writer: Stanley Eveling Director: Max Stafford-Clark | Traverse Theatre; Theatre Upstairs | 1974 |
| X Writer: Barry Reckord Director: Max Stafford-Clark | Theatre Upstairs, Royal Court | 1974 |
| Fourth Day Like Four Long Months of Absence Writer: Colin Bennett Director: Max Stafford-Clark | Traverse Theatre; Theatre Upstairs | 1974 |
| Doomduckers Ball Company adaptation based on an idea by Neil Johnston | Oval House; Theatre Upstairs | 1975 |
| Fanshen Writer: David Hare, adapted from William Hinton Directors: William Gaskill and Max Stafford-Clark | Crucible Studio Theatre, Sheffield | 1975 |
| Yesterday’s News Company devised Directors: William Gaskill and Jeremy Seabrook | West End Centre: Theatre Upstairs | 1976 |
| Light Shining in Buckinghamshire Writer: Caryl Churchill Director: Max Stafford-Clark | Traverse Theatre: Theatre Upstairs | 1976 |
| The Speakers (revival) Company, adapted from Heathcote Williams Directors: William Gaskill and Max Stafford-Clark | International tour | 1976 |
| Devil’s Island Writer: Tony Bicât Director: David Hare | Sherman Theatre; Royal Court | 1977 |
| A Though in Three Parts Writer: Wallace Shawn Director: Max Stafford-Clark | ICA | 1977 |
| A Mad World, My Masters Writer: Barrie Keeffe Director: William Gaskill and Max Stafford-Clark | Young Vic; Roundhouse | 1977 |
| Epsom Downs Writer: Howard Brenton Director: Max Stafford Clark | Roundhouse | 1977 |
| Writer: David Hare, adapted from William Hinton Directors: William Gaskill and Max Stafford-Clark | London tour | 1977 |
| The Glad Hand Writer: Snoo Wilson Director: Max Stafford-Clark | Royal Court Theatre | 1978 |
| The Ragged Trousered Philanthropists Writer: Stephen Lowe, based on the book by Robert Tressell Director: William Gaskill | Plymouth Arts Centre; Riverside Studios | 1978 |
| Cloud Nine Writer: Caryl Churchill Director: Max Stafford-Clark | Dartington College of the Arts | 1979 |
| The House Writer: David Halliwell Director: Richard Wilson | Dartington Hall | 1979 |
| An Optimistic Thrust Company devised Director: William Gaskill | Nuffield Studio Theatre | 1980 |
| Cloud Nine (revival) Writer: Caryl Churchill Director: Max Stafford-Clark and Les Waters | Royal Court | 1980 |
| Say Your Prayers Writer: Nick Darke Director: Richard Wilson | College of St. Mark and St. John | 1981 |
| Borderline Writer: Hanif Kureishi Director: Max Stafford-Clark | Jackson’s Lane Community Centre; Royal Court Theatre | 1981 |
| Real Time Company devised Director: Jack Shepherd | College of St. Mark and St. John; ICA | 1982 |
| Fen Writer: Caryl Churchill Director: Les Waters | University of Essex | 1983 |
| Victory: Choices in Reaction Writer: Howard Barker Director: Danny Boyle | Gardner Centre; Royal Court | 1983 |
| The Crimes of Vautrin Writer Nicholas Wright, after Honoré de Balzac Director: William Gaskill | Dovecot Arts Centre | 1983 |
| The Great Celestial Cow Writer: Sue Townsend Director: Carole Hayman | Leicester Haymarket Studio; Royal Court Theatre | 1984 |
| The Power of the Dog Writer: Howard Barker Director: Kenny Ireland | Lyceum Studio | 1984 |
| Deadlines Writer: Stephen Wakelam Director: Simon Curtis | Crucible Sheffield | 1985 |
| Amid the Standing Corn Writer: Jane Thornton Director: Carole Hayman | Soho Poly | 1985 |
| Fires in the Lake Writer: Karim Alrawi Director: Les Waters | Theatre Workshop, Edinburgh | 1985 |
| A Mouthful of Birds Writers: Caryl Churchill and David Lan Director: Ian Spink and Les Waters | Royal Court | 1986 |
| Sanctuary Writer: Ralph Brown Director: Paulette Randall | Drill Hall | 1987 |
| A Child in the Heart Writer: Karim Alrawi Director: Nick Broadhurst | Drill Hall | 1988 |
| Promised Land Writer: Karim Alrawi Director: Nick Broadhurst | Old Bull Arts Centre | 1988 |
| 51st State | Abandoned due to company struggles | 1988 |
| Born Again | Cancelled - Paulette Randall and Sîan Evans’ withdrew from the project. | 1989 |
| Joint Stock ceases to function due to funding cuts | 1989 | |
| Max Stafford-Clark and Sonia Freidman launch Out of Joint as Stafford-Clark leaves the Royal Court | 1993 | |
| Out of Joint Paired Productions: The Queen and I Writer: Sue Townsend Director: Max Stafford-Clark Road Writer: Jim Cartwright Director: Max Stafford-Clark | Royal Court | 1994 |
| Out of Joint The Libertine Writer: Stephen Jeffreys Director: Max Stafford-Clark | Royal Court | 1994 |
| Out of Joint The Man of the Mode Writer: George Etherege Director: Max Stafford-Clark | Royal Court | 1994 |
| Out of Joint The Break of Day Writer: Timberlake Wertenbaker Director: Max Stafford-Clark | Leicester Haymarket; Royal Court | 1994 |
| Out of Joint Three Sisters Writer: Anton Chekhov Director: Max Stafford-Clark | Lyric Hammersmith | 1994 |
| Out of Joint The Steward of Christendom Writer: Sebastian Barry Director: Max Stafford-Clark | Royal Court | 1995 |
| Out of Joint Shopping and Fucking Writer: Mark Ravenhill Director: Max Stafford-Clark | Royal Court Upstairs | 1996 |
| Out of Joint The Positive Hour Writer: April De Angelis Director: Max Stafford-Clark | Hampstead Theatre | 1997 |
| Out of Joint Blue Heart (Heart’s Desire and Blue Kettle) Writer: Caryl Churchill Director: Max Stafford-Clark | Royal Court | 1997 |
| Out of Joint Our Lady of Sligo Writer: Sebastian Barry Director: Max Stafford-Clark | Oxford Playhouse | 1998 |
| Out of Joint Our Country’s Good (revival) Writer: Timberlake Wertenbaker Director: Max Stafford-Clark | Young Vic | 1998 |
| Out of Joint Drummers Writer: Simon Bennett Director: Max Stafford-Clark | Royal Parade, Plymouth | 1999 |
| Out of Joint Some Explicit Polaroids Writer: Mark Ravenhill Director: Max Stafford-Clark | New Ambassadors | 1999 |
Interviewee references: Max Stafford-Clark
Existing Archive Materials:
Archival materials concerning Joint Stock are held at the Victoria and Albert Museum Theatre Collection and the University of California at Davis Special Collections. Max Stafford-Clark’s paper have been donated to the British Library and David Hare’s papers from 1968-1996 are at the Harry Ransom Center at the University of Texas at Austin.
Selected Bibliography:
In addition to the listed academic sources below, Joint Stock was consistently reviewed in by large newspapers, especially by the critic Irving Wardle, and reviews of their shows are well collated in Theatre Record/London Theatre Record.
- ‘Joint Stock Theatre Company.’ British Theatre Companies 1980-1994. Jacqueline Bolton. Ed. Graham Saunders. (London: Methuen, 2015: 115-140)
- Being an Actor. Simon Callow. (London: Penguin, 1995.University of Iowa Press, 1991. 272-279)
- ‘Collaboration, Identity, and Cultural Difference: Karim Alrawi’s Theatre of Engagement’. Susan Carlson. (Theatre Journal 45:3 (1993). 155-173)
- Joint Stock: From Colorless Company to Company of Color. Joyce Devlin. (Theatre Topics 2:1 (March 1992). 63-76)
- ‘Product into Process: Actor Based Workshops’. Colin Chambers. Dreams and Deconstructions: Alternative Theatre in Britain. Ed. Sandy Craig. (Derbyshire: Amber Lane Press, 1980: 105-115)
- ‘Writing the History of Alternative Theatre Companies: Mythology and the Last Year of Joint Stock.’ Sara Freeman. Theatre Survey 47.1 (May 2006): 51-72.
- A Sense of Direction: Life at the Royal Court. William Gaskill. (London: Faber and Faber, 1988)
- ‘Thatcher’s Theatre – or, After Equus.’ Vera Gottlieb. New Theatre Quarterly 4:14 (1988). 99-104.
- ‘Theatre: Collective Movements.’ Steve Grant. Time Out 404 (30 December 1977- 5 January 1978). 13.
- ‘Mirrors of Utopia: Caryl Churchill and Joint Stock.’ Frances Gray. British and Irish Drama since 1960. Ed. James Acheson. (New York: St. Martin’s Press, 1993. 47-59)
- ‘Cloud Cover: (Re)dressing desire and comfortable subversions in Caryl Churchill’s Cloud Nine.’ James M Harding. (Publications of the Modern Language Association of America 113:2 (1998). 258-272)
- ‘From Portable to Joint Stock….Via Shaftesbury Avenue: An Interview with Catherine Itzin and Simon Trussler.’ David Hare. Theatre Quarterly. 5:20 (1975-1976). 108-115.
- ‘Double Acts: There is a significant trend for playwrights and directors to form lasting partnerships in creating productions. Ten of them discuss their working relationships.’ Ronald Mayman. Sunday Times Magazine. 2 March 1980. 21-27.
- The Politics of Theatre and Drama. Ed Graham Holderness. (New York: St. Martin’s Press, 1992)
- Stages in the Revolution: Political Theatre in Britain since 1968. Catherine Itzin. (London: Eyre Methuen, 1980)
- Devising Theatre: A Practical and Theoretical Handbook. Alison Oddey. (London: Routledge, 1994)
- Fringe First: Pioneers of the Fringe Theatre on Record. Roland Rees. (London: Oberon Books Limited, 1992)
- The Joint Stock Book: The Making of a Theatre Collective. Rob Ritchie. (London: Methuen, 1987)
- The Royal Court Theatre and the Modern Stage. Philip Roberts. Cambridge Studies in Modern Theatre. (Cambridge: Cambridge UP, 1999)
- Contemporary British Theatre. Ed Ted Shank. (London: MacMillan, 1996)
- Taking Stock: The Theatre of Max Stafford-Clark. Max Stafford-Clark and Robert Philips. (London: Nick Hern Books Ltd, 2007)
Acknowledgements: Page compiled by Sara Freeman