Using previously unpublished material from the National Archives, this book provides a thoroughgoing account of the introduction and abolition of theatre censorship in England, from Sir Robert Walpole's Licensing Act of 1737 to the successful campaign to abolish theatre censorship in 1968. It concludes with an exploration of possible new forms of covert censorship.

Timeline. Statutory Theatre Censorship ; 1. Theatre Censorship under the Royal Prerogative ; 2. Statutory Theatre Censorship: 1737-1892 ; 3. The 1909 Challenge to Statutory Theatre Censorship ; 4. The Inter-War Years ; 5. The 1949 Bid to end Statutory Theatre Censorship ; 6. Further Attempts to end Statutory Theatre Censorship ; 7. The 1960s and the 1968 Theatres Act ; 8. The Aftermath: British Theatre following the Abolition of Statutory Censorship ; Conclusion

`This book, well researched, cogently argued, and frequently revealing, is an important addition to the scholarly literature on theatrical censorship in Britain.' Jeffrey M. Richards, Comparative Drama

`This book, well researched, cogently argued, and frequently revealing, is an important addition to the scholarly literature on theatrical censorship in Britain.' Jeffrey M. Richards, Comparative Drama `a lucid and thorough account' Alec Patton, Theatre Journal

Provides a clear and concise account of the complex history of theatre censorship legislation Explains why statutory theatre censorship lasted over 200 years until its abolition in 1968 Includes extensive quotations from previously unpublished archival sources Considers new forms of covert censorship affecting the theatre today

David Thomas was appointed to a Lectureship in Drama at the University of Bristol in 1966. While at Bristol he directed plays, workshops and operas from a wide variety of periods. His research at Bristol was primarily concerned with Scandinavian theatre from the 18th to the 20th century. He published essays in Ibsenårbok, and chapters in various jointly authored volumes, as well as a monograph on Ibsen. In 1986 he was appointed Professor and Chairman of Theatre Studies at the University of Warwick. While at Warwick he published a Documentary History of Restoration and Georgian Theatre, collections of plays, a monograph on Congreve, contributions to The Oxford Encyclopedia of Theatre and Performance, and a video on Restoration playhouses. He has contributed to various radio and television programmes. He is now a Professor Emeritus of the University of Warwick. David Carlton served for seventeen years as a Lecturer and a Senior Lecturer in International Studies at the University of Warwick. He previously held similar positions at what is now the London Metropolitan University and at the Open University. He is author of five monographs on a range of topics involving British politics in the twentieth century and the West's response to terrorism he is also co-editor of a further twenty-one volumes. His best-known book is Anthony Eden: A Biography. He has published widely in various academic journals and his journalistic work has been published in The Times; The Telegraph; The Spectator and The Listener. He has also appeared on various radio and television programmes including the BBC's Newsnight and Radio Free Europe. Anne Etienne taught courses in English literature and drama at Orléans from 1994 to 2000. Her research has since been focused on 20th-century censorship. In 2001 she was appointed to a Leverhulme-funded Research Fellowship at the University of Warwick to undertake archival and empirical research for the current volume. She has published articles on theatre clubs and censorship in several French journals. She has lectured in Drama at University College Cork since 2003. Her current research is concerned with British theatre since the 1960s and in particular with the work of Arnold Wesker.

Provides a clear and concise account of the complex history of theatre censorship legislation Explains why statutory theatre censorship lasted over 200 years until its abolition in 1968 Includes extensive quotations from previously unpublished archival sources Considers new forms of covert censorship affecting the theatre today