100 Books Like Sybil Thorndike

I was fascinated by this tale of a Welsh clergyman’s daughter who, remarkably, became a Strongwoman in late Victorian London. And, even more amazing is the fact that it’s based on a true story! The plucky and talented Miriam Kate Williams becomes known as Vulcana and joins a troupe of performers.

Told like a five-act play with intermissions, we follow her fortunes, her loves, the pull and dangers of the city, motherhood, and much else. I loved this breathless, exhilarating, and highly original novel that exposes an aspect of performing on stage that receives little attention today.

No biography of Richard Burton succeeds like these diaries in giving us a sense of what it meant to be a truly global star, a consummate actor, a father, and a lover. We glimpse, too, the pressures on a man whose often troubled private life was presumed to be public property.

Burton’s surviving, voluminous diaries were meticulously edited by the historian Chris Williams, providing just the right amount of background and explanatory material to enlighten yet not bombard readers. From the early 1939-40 diary of the schoolboy Richard Jenkins, to the detailed diaries of the 1960s in particular, we can also discern the actor’s literary ambitions. I treasure these personal diaries: rich, revealing, and infinitely fascinating.

At last, a book about Elizabeth Taylor that takes her acting skills seriously, analyses her prodigious output, and is neither sensational nor trivial. I was entranced. Like Sybil Thorndike, Taylor’s career lasted 65 years. Kennedy puts it in context, refreshingly focusing on her professional rather than personal life.

Commenting on Who’s Afraid of Virginia Woolf?, he remarks: ‘At some point we have to reject the idea we’re watching the Burtons air their dirty laundry and embrace the possibility we’re watching them act. Brilliantly’. This readable, thoughtful book examines Taylor’s 56 movies and includes television, theatre, and special appearances such as a play reading in 2007, part of her remarkable fund-raising for AIDS.

These 21 pen-portraits of Shakespearian characters were designed for actors, but they are invaluable for all. This is the book I turn to before I watch any play by Shakespeare. It is the product of the author’s experiences as a lifelong inspirational teacher in Wales, lecturer to New York drama students, and consummate performer of sparkling lecture-recitals across the United States.

Published in 1970, these carefully selected characters (7 from the Histories and 7 apiece from the Comedies and Tragedies) leap from the page to amuse, shock, frighten, and enchant. Philip Burton was a firm believer in Shakespeare’s wizardry, and in these brilliant sketches, he imparts more than a little magic of his own.

This very handy anthology includes the only modern edition of The Tragedie of Iphigenia (1557-9), by Jane Lumley, the first person to translate Euripides into English and the first English woman to write a full-length play.

It is a surprisingly modern-sounding script, featuring a father sacrificing his daughter, not unlike Stannis Barathean in Game of Thrones, and I loved producing and taking part in a production in 2013-14. Also included are Antonius translated by Mary [Sidney Herbert], Countess of Pembroke, and Elizabeth Cary’s The Tragedy of Mariam.

Unlike the anthology above, this edition publishes the plays in their original old spelling so you can get a feel of Renaissance English. Diane Purkiss offers a concise introduction and notes at the back of the book.

This was one of my favourite books recently. I picked it up in a charity shop out of curiosity as the two boys were extremely famous Irish actors and theatre designers, albeit being born in the UK.

Their relationship was illegal for the entirety of their lives but their talent and fame allowed them the liberty to walk hand in hand down Dublin’s fashionable Grafton Street in the 1950s, receiving only smiles and acknowledgements. The brilliant telling of their story covers all aspects of life in Ireland from the early 1900s, the difficulties they faced, financial and personal, but the love they felt for each other shines through every page.

If you can get a copy and have any interest in gay Irish culture and theatre I thoroughly recommend it. 

This play, which I’ve read as a script but not seen performed, is a genuine treat. It hits the sweet spot for me: it is a delicious cross-section of ‘post-apocalyptic’ and ‘stories about stories.'

I also loved it for just how weird it was. It’s such a bizarre–yet realistic–depiction of how stories change over time, and it’s the only thing I’ve ever read that has made me want to write a play. It’s probably the oddest text I ever recommend to people.  

Greek tragedy is similar to fantasy except for matters of form (e.g. the chorus). Euripides was a startlingly modern playwright, especially when it comes to psychology.

Heracles can be portrayed as a monstrous monster-slayer (I’m looking at you, Sophocles), but in Euripides he’s noble, brave, and domestic. He performs his labors because he’s the kind of guy to use his powers for good.

Hera, being a jealous jerk, drives him mad; Madness herself is unenthusiastic about the whole affair, recognizing that Heracles has made the world a better place.

But insane Heracles knows that he’s murdering innocent people. Is that who he really is? Is it all Hera’s fault?

This translation of four of Euripides’ plays features his three best female avengers.

Electra is the loyal daughter who conspires with her brother Orestes, to avenge the killing of their father by slaughtering their mother, Clytemnestra. Hecabe is the fierce maternal figure who exacts revenge for her dead son Polydorus on the man who killed him for his riches. Medea is the murderous mother who avenges herself on her faithless husband, Jason, by killing her own children to destroy his family line.

The power of these plays is in the way their plots build as the women move from grief to anger, culminating in their fatal acts of revenge and leaving the audience to ponder on the nature of justice.

Beginning, middle, and an end—what writer doesn’t know about these three concepts? Well, Aristotle is the guy who wrote about these ideas in his book, and thousands of years later we’re still using them and thinking about them.

The foundations of modern literature and theater rest on this book and every writer should be familiar with its ideas and concepts. Story is story, and Aristotle started the ball rolling for everyone who is interested in storytelling.