USQ

 Artsworx  
 
 
 

 
 
Look  Back  In  Anger  
By  John  Osborne  
 
 
 
 

Teachers’  Notes  
 
 
 
 
 
 
 
 
 
Prepared  by:  
C.  Tickell-­‐Devey  
 
 
 
 
Table  of  Contents  
Contents   Page  
Summary   3  
Characters   4  
Changing  Britain  and  Kitchen  Sink  Dramas   4  
Osborne-­‐  Angry  Young  Man-­‐  What  place  does  he  have  in  2016   5  
Class-­‐  how  does  it  Apply  to  Australia?  Discussion  Activities   5  
Physical  Activities-­‐  Working  with  Space     6  
                                                                     Working  with  Dialogue     7  
Curriculum  Links   8  
List  of  References   9  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
  2  
Summary  
Set  in  the  English  Midlands  in  the  1950s,  Look  Back  in  Anger  follows  the  deteriorating  marriage  of  upper  
class  Alison  and  working  class  Jimmy  Porter.  Taking  place  in  the  confined  surrounds  of  their  attic  flat,  that  
they  share  with  Jimmy’s  friend  Cliff  Lewis,  the  play  focuses  on  the  Jimmy’s  frustration  and  anger  at  a  world  
that  has  trapped  him  a  working  class  life  despite  being  well  educated.  The  play  opens  on  what  is  a  typical  
Sunday  morning  with  Jimmy  and  Cliff  reading  the  newspaper  while  Alison  irons.  Much  of  the  first  act  sees  
angry  tirades  from  Jimmy  as  he  criticises  the  apathy  of  the  upper  classes.  The  tirades  soon  turn  to  Alison  
and  her  background  as  he  taunts  her  to  show  more  enthusiasm  while  accusing  all  women  of  wanting  to  
destroy  men.  While  trying  to  dispel  the  tension,  Cliff  attempts  to  cheer  up  Jimmy  through  play  fighting  
which  ends  with  the  men  falling  on  the  ironing  board  and  burning  Alison  on  the  arm  with  the  iron.  She  
screams  at  Jimmy  to  get  out.    
 
Cliff  helps  Alison  tend  to  her  burn  and  she  tell  him  that  she  is  pregnant  but  is  scared  to  tell  Jimmy.  Cliff  
comforts  her  and  they  kiss.  Jimmy  returns  and  does  not  acknowledge  the  intimacy  between  Cliff  and  Alison.  
Cliff  goes  to  buy  cigarettes  and  Jimmy  and  Alison  share  a  tender  moment  of  playing  ‘bear  and  squirrel’.  
When  Cliff  returns  he  tells  Alison  that  her  friend  Helena,  an  upper  class  actress,  in  on  the  phone  downstairs.  
When  Alison  returns  she  tells  Jimmy  that  Helena  is  coming  to  stay.  This  causes  Jimmy  to  explode  in  an  
angry  tirade  where  he  tells  Alison  he  hopes  she  has  a  child  that  dies  so  she  can  understand  true  suffering  
like  Jimmy  experiences.    
 
The  second  act  begins  with  Alison  and  Helena  performing  household  tasks  while  Jimmy  plays  his  trumpet  
off  stage.  Alison  talks  about  her  early  days  of  marriage.  She  reveals  to  Helena  that  the  main  reason  she  
thinks  they  got  married  was  that  her  parents,  particularly  her  mother,  disapproved  of  the  match  and  that  
was  Jimmy’s  main  reason  to  marry.  When  Jimmy  and  Cliff  come  into  eat,  Jimmy  again  flies  into  an  angry  
tirade  when  he  hears  the  girls  plan  on  attending  church.  Helena  attempts  to  reason  with  Jimmy  which  ends  
with  Jimmy  ranting  at  her  about  seeing  someone  die  and  that  he  knows  more  about  life  that  she  ever  will  
from  upper  class  life.  When  he  leaves  to  use  the  telephone,  Helena  tell  Alison  that  she  has  called  Alison’s  
father,  Colonel  Redfern,  to  come  and  rescue  her.  Alison  does  not  protest.  Jimmy  returns  with  news  that  
the  woman  who  helped  him  set  up  the  candy  stall  he  runs  and  whom  he  cares  for  deeply  is  dying  and  
wants  Alison  to  join  him  in  London  to  see  her.  Instead  she  goes  to  church  leaving  Jimmy  alone.    
 
Colonel  Redfern  comes  to  collect  Alison  and  he  states  that  Alison’s  mother  was  too  harsh  on  her  
judgement  of  Jimmy  and  his  marriage  to  Alison.  He  supports  Jimmy’s  views  that  Alison  doesn’t  stand  up  for  
anything  or  show  any  enthusiasm.  After  a  moment  of  hesitation,  Alison  leaves  with  her  father,  leaving  
Helena  with  a  letter  for  Jimmy.  Having  seen  Alison  leave,  Jimmy  enters  in  a  fury.  He  reads  the  letter  and  is  
frustrated  with  Alison’s  polite,  neutral  language.  Helena  tells  him  that  Alison  is  pregnant  which  leads  to  an  
argument  that  ends  with  Helena  slapping  Jimmy.  When  he  falls  to  the  ground  in  despair,  Helena  kisses  him  
passionately.    
 
Month  later,  similar  to  the  opening  scene,  Jimmy,  Cliff  and  Helena  are  in  the  lounge  and  Helena  is  ironing.  
When  Helena  leaves  to  clean  Cliff’s  shirt,  Cliff  tells  Jimmy  that  he  is  moving  out.  Helena  re-­‐enters  and  Cliff  
leaves  to  dry  his  shirt,  Helena  tells  Jimmy  she  loves  him  and  Jimmy  asks  her  desperately  never  to  leave  him.  
Alison  then  appears  looking  ill  and  frail.    Alison  tells  Helena  that  she  is  not  angry  and  does  not  want  to  
upset  the  new  couple.  When  Alison  reveals  her  miscarriage,  Helena  decides  this  a  judgement  on  her  
relationship  with  Jimmy  and  decides  to  leave  Jimmy.  Jimmy  responds  in  anger,  accusing  Helena  of  never  
having  the  capability  of  loving  someone.    
 
Alison  apologies  to  Jimmy  and  reveals  the  miscarriage  and  impact  it  has  had  on  her.  She  claims  that  this  
experience  has  finally  allowed  her  to  understand  the  depth  of  emotion  that  Jimmy  wanted  to  see  from  her.  
Unable  to  see  her  in  such  pain,  Jimmy  tries  to  comfort  her  with  a  game  of  ‘bear  and  squirrel’.    
  3  
Characters  

 
 
 
Changing  Britain  and  Kitchen  Sink  Dramas  
 
Post  World  War  II  Britain  was  a  changing  place.  The  end  of  the  war  also  spelt  the  end  of  Britain’s  
dominance  as  a  world  power.  As  America  and  the  USSR  emerged  as  new  world  powers,  a  war  weary  
Britain  saw  a  decline  in  its  power  and  Empire.  
 
These  changes  were  also  reflected  in  the  shifting  social  structure  of  British  society.  The  impact  of  the  
war  had  been  immense  and  as  society  tried  to  find  its  way  in  the  difficult  post  war  years,  the  old  and  
rigid  social  structures  no  longer  held  relevance  for  many  Britons.  With  Labour  in  power,  government  
saw  the  need  to  bring  about  a  greater  sense  of  social  responsibility  and  opportunity  for  those  outside  
of  the  wealthier  classes.  The  establishment  of  the  Welfare  State  aimed  to  bring  a  sense  of  security  for  
all  with  the  provision  of  welfare  payment,  health  care,  insurance  and  secure  jobs.  New  Bills  also  saw  
secondary  school  education  as  a  guarantee  for  all  citizens  and  the  introduction  of  new  universities  
made  higher  education  more  accessible  for  working  and  middle  class  students.    
 
The  Arts  of  the  1950s  however,  did  not  reflect  this  changing  face  of  British  culture.  Theatres  were  
populated  with  light,  often  amusing  tales  of  the  upper  classes,  only  to  be  seen  by  the  very  classes  they  
were  reflecting.  The  cultural  shift  of  the  1950s  saw  the  development  of  a  mass  culture,  dominated  by  
youth  and  America.  No  longer  was  culture  only  accessible  to  the  wealthy,  but  music  and  
entertainment  was  now  open  to  all.    
 
  4  
It  was  not  until  the  newly  formed  Royal  Court  Theatre  produced  John  Osborne’s  Look  Back  in  Anger  in  
1957,  did  theatre  become  a  true  reflection  of  a  changing  society.  Look  Back  in  Anger  gave  voice  to  the  
working  classes  of  Britain,  expressing  their  frustration  and  anger  at  the  establishment  that  kept  them  
trapped  in  the  class  system.    
 
Described  as  an  ‘Angry  Young  Man’,  Osborne  lead  the  way  in  establishing  a  new,  gritty  and  realistic  
form  of  British  theatre,  the  Kitchen  Sink  drama.  These  plays  told  the  stories  of  working  classes  in  a  
warts  and  all  approach  and  changed  the  theatre  (and  television)  landscape  forever.    
 
Osborne-­‐  Angry  Young  Man-­‐  what  place  does  it  have  in  2016?  
John  Osborne  was  hailed  as  the  man  to  change  the  face  of  British  Theatre.  As  in  his  own  life,  his  
characters  railed  against  the  restrictions  faced  by  working  classes  in  an  unfair  world  controlled  by  the  
upper  classes.  He  adored  middle  class  father  but  held  a  life  long  grudge  against  his  working  class,  
barmaid  mother,  as  he  felt  held  back  by  her  working  class  roots.  He  was  one  of  the  many  working  class  
who  held  a  university  education  but  found  it  impossible  to  progress  in  a  career,  as  they  did  not  possess  
the  appropriate  school  tie  and  connections.    
 
In  Look  Back  in  Anger,  Jimmy  expresses  many  of  Osborne’s  frustrations.  He  speaks  of  his  wife’s  brother,  
a  Sandhurst  graduate  and  Member  of  Parliament,  as  someone  who  in  only  in  his  position  because  he  
has  the  opportunity  to  attend  the  right  school.  Jimmy  and  Osborne  himself  were  seen  as  heroic  as  they  
attempted  to  tear  through  the  class  structures  of  post  war  Britain.    
 
To  a  modern  audience,  however,  Jimmy  can  be  seen  as  a  belligerent  and  abusive  husband,  who’s  out  
of  control  anger  makes  his  wife’s  life  a  misery.    A  modern  audience  might  celebrate  Alison’s  decision  to  
leave  Jimmy  only  to  be  disappointed  when  she  returns  to  him  at  the  end  of  the  play.  Her  return  and  
forgiveness  indicates  she  is  the  victim  of  a  controlling  and  abusive  partner.  
 
Something  to  consider:  Does  the  rantings  of  an  Angry  Young  Man  still  have  a  place  in  2016?  We  
certainly  have  evidence  of  many  angry  young  men  railing  against  what  they  perceive  as  injustices  in  
their  lives,  often  at  the  cost  of  the  dignity,  rights  and  lives  of  women  or  minorities.  Should  we  still  be  
listening  to  the  angry  your  men  and  where  does  Look  Back  in  Anger  sit  in  a  modern  world?  
 
 
Class-­‐  how  does  it  apply  to  Australia?  Discussion  activities    
 
When  it  was  first  written  Look  Back  in  Anger  addressed  the  rigid  and  deeply  unfair  class  system  that  
was  an  intrinsic  part  of  British  culture.  The  introduction  of  the  Welfare  State  had  already  begun  to  blur  
the  edges  of  the  class  system  and  it  was  plays  like  Osborne’s  that  truly  started  to  blow  holes  in  the  
system.    
 
This  was  a  hugely  influential  play  in  1950s  Britain  but  does  it  still  have  something  to  say  in  2016  
Australia  and  in  a  global  economy  in  general?  
 
In  New  York’s  Roundabout  Theatre’s  production  of  Look  Back  in  Anger,  director  Sam  Gold  was  careful  
not  to  simply  produce  a  period  piece  but  rather  create  a  piece  that  was  relevant  for  a  modern  
American  audience.  As  he  explains  in  this  interview  extract:  
 
 

  5  
Ted  Sod,  Education  Dramaturg,  interviewed  director  Sam  Gold  about  his  thoughts  on  Look  Back  in  Anger.  
Ted  Sod:  Why  did  you  choose  to  direct  Look  Back  in  Anger?  
Sam  Gold:  The  play  has  always  been  very  high  on  my  list  of  plays  to  work  on;  it  was  influential  to  me  as  I  was  becoming  
involved  in  the  theatre.  I  used  the  play  as  I  started  to  think  about  myself  as  an  artist.  I  really  responded  to  Jimmy  Porter  
as  a  character.  I  connected  with  Osborne  and  what  he  had  to  say  about  young  people,  class  and  culture.  When  Todd  
Haimes  offered  me  the  position  of  Associate  Artist  at  the  Roundabout  and  asked  me  what  I  wanted  to  do,  it  just  felt  like  
an  important  first  revival  to  do  with  him.  
TS:  We’re  also  producing  Man  and  Boy,  a  play  written  by  Terence  Rattigan,  this  year.  And,  as  you  know  very  well,  
Osborne’s  play  usurped  Rattigan’s  popularity  in  1956.  Do  you  think  this  play  is  specific  to  that  time  period?  
SG:  Yes.  Osborne  was  having  a  conversation  about  his  culture  in  a  very  specific  way  and  there’s  something  about  any  
great  play  that  speaks  about  its  time.  This  is  a  play  that’s  so  engaged  in  the  politics,  class  and  social  issues  of  an  exact  
community  and  time,  and  I  find  it  an  exciting  challenge  to  think  about  how  a  play  that  spoke  so  loudly  and  bravely  about  
an  exact  time  and  place  is  going  to  resonate  and  engage  us  now.  
TS:  I  just  spoke  with  Matthew  Rhys,  and  we  were  talking  about  the  resonance  of  Occupy  Wall  Street  because  we  both  
felt  that  if  Jimmy  Porter  were  in  NYC  today,  he  would  be  part  of  the  protest.  
SG:  We’re  not  a  very  class-­‐conscious  culture  in  the  U.S.  It’s  a  much  more  class-­‐conscious  culture  in  Britain.  It  is  sort  of  
crazy  that  we’re  having  a  national  dialogue  about  class  disparity  in  this  country  right  now  and  that  it  timed  out  to  be  
when  we’re  doing  this  play.  It  wasn’t  by  design,  but  I  think  it  is  a  prescient  time  to  do  this  play.  I  did  The  Threepenny  
Opera  during  the  financial  collapse  and  that  play  ends  with  Mack  the  Knife  screaming  that  it  should  be  the  bankers  not  
the  bank  robbers  that  are  put  in  jail.  I’ve  been  very  interested  in  these  rebellious  plays  about  class  and  economy.  
Working  on  Threepenny  got  me  really  interested  in  Look  Back  in  Anger  again,  but  I  never  thought  we’d  be  taking  this  
kind  of  turn  socially  in  this  country  by  the  time  I  did  it.  
…  
TS:  What  kind  of  research  did  you  have  to  do  to  direct  this  play?  How  do  you  enter  a  world  like  this?  
SG:  To  a  certain  degree,  I’m  not  particularly  worried  about  the  research,  because  I’m  not  interested  in  giving  the  
audience  a  museum  piece.  I’m  not  interested  in  taking  them  to  1950s  London,  because  that  won’t  ring  any  bells  with  
them.  What  will  ring  bells  with  the  audience  is  if  I  bring  the  play  to  them.  So  I’m  interested  in  the  research  in  as  much  as  
it  illuminates  the  story.  What  I  need  to  know  about  is  the  context  that  this  play  and  these  characters  were  written  in.  I  
need  to  research  context  in  order  to  make  the  characters  and  the  action  in  the  play  come  to  life.  What  I’m  also  trying  to  
do  is  see  the  play  from  the  audience’s  point  of  view  and  not  distance  the  audience  from  the  play  by  presenting  
something  that  feels  dated.  
 
https://www.roundabouttheatre.org/Roundabout/media/Roundabout/PDF/UPSTAGE/LookBack_Upstage_lo.pdf  
 
We  are  living  in  times  of  change  and  upheaval  both  politically  and  financially.  There  are  plenty  of  angry  
men  voicing  their  opinions  on  the  world.  The  concept  of  the  play,  railing  against  the  status  quo  does  
have  a  place  in  a  modern  world.  
 
Questions  to  consider:  
By  looking  at  the  news  and  current  events  both  in  Australia,  what  issues  are  creating  anger,  frustration  
and  discontent?  
• Examine  the  issue  to  see  who  it  affects  
• Do  those  affected  have  a  voice  to  stand  up  against  these  issues?  
• How  have  these  issues  and  society  in  general  changed  in  the  last  few  years?  
• Who  has  the  power?  
• What  would  Jimmy  be  angry  about  in  2016?  
• Use  the  issues  to  create  characters  impacted  by  the  issues  identified  
• Create  monologues  as  the  characters  expressing  their  feelings  about  the  issue    
 
 
Physical  Activities    
Using  Space  to  build  tension  of  relationship.  
 
The  small  flat  that  is  the  setting  of  Look  Back  in  Anger  helps  build  the  tension  of  the  play  and  between  
the  three  characters.  This  activity  allows  students  to  explore  how  a  confined  space  can  impact  on  
characters  and  tension.    
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Activity:  
In  pairs  students  need  to  silently  improvise  separate  tasks  that  have  to  be  carried  out  in  a  small,  
defined  space.  The  space  needs  to  be  about  1m  x  1.5m  and  the  activities  being  improvised  could  
include:  ironing;  cleaning;  exercising;  playing  a  game;  doing  homework.  As  the  actors  attempt  to  carry  
their  tasks,  they  need  to  express  feelings  through  actions  not  words.    
 
Reflection-­‐  After  the  activity,  discuss  how  the  confined  performance  space  impacted  on  their  activity  
and  how  it  made  them  feel  about  the  task  and  the  other  person.  
 
Extend-­‐  either  written  or  through  improvisation,  create  a  dialogue  for  the  scene  just  created  between  
the  characters    
 
Working  With  Dialogue    
Look  Back  in  Anger  often  relies  on  the  subtext  of  the  dialogue  to  reveal  the  character’s  true  feelings.  
This  activity  explores  subtext  and  how  conflict  can  be  communicated  in  what  it  not  said.      
 
In  pairs,  students  are  to  choose  a  relationship  that  is  in  conflict.  For  example:  a  parent  and  child  who  
have  a  difference  of  opinion  on  an  important  decision;  friends  who  have  betrayed  each  other;  partners.  
Once  they  have  chosen  a  relationship,  they  need  to  perform  the  script,  exploring  the  conflict  though  
gesture,  expression,  pace  and  pause  to  reveal  subtext.  They  can  then  improvise  to  build  the  scene  and  
further  develop  the  characters,  conflict  and  subtext.    
 
Scene  
A:  Hi.  
B:  Hello.  
A:  How  are  you?  
B:  Fine.  
A:  I’m  sorry.    
B:  That’s  fine.  
A:  Where  are  you  going?  
B:  Upstairs.  
 
Extend:  While  performing  the  scene,  pause  the  actors,  tap  them  on  the  shoulder  and  have  them  reveal  
what  their  characters  are  thinking  and  feeling.  This  can  be  repeated  throughout  the  scene  to  track  the  
characters.    
 
Reflect:  Discuss  the  differences  in  what  the  characters  said  and  what  they  felt.  Reflect  on  how  they  
portrayed  their  character’s  feelings  other  than  the  dialogue.  Discuss  why  the  characters  in  the  scene  
and  the  play  don’t  reveal  their  feelings  directly  in  the  dialogue.    
 
Activities  inspired  by:    
https://www.roundabouttheatre.org/Roundabout/media/Roundabout/PDF/UPSTAGE/LookBack_Upstage_lo.pdf  

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Curriculum  Links  
Year  9  and  10  Curriculum  Links  

Improvise  with  the  elements  of  drama  and  narrative  structure  to  develop  ideas,  and  explore  subtext  to  shape  
devised  and  scripted  drama  (ACADRM047)  

Manipulate  combinations  of  the  elements  of  drama  to  develop  and  convey  the  physical  and  psychological  aspects  of  
roles  and  characters  consistent  with  intentions  in  dramatic  forms  and  performance  styles  (ACADRM048)  

Perform  devised  and  scripted  drama  making  deliberate  artistic  choices  and  shaping  design  elements  to  
unify  dramatic  meaning  for  an  audience(ACADRM051)  

Evaluate  how  the  elements  of  drama,  forms  and  performance  styles  in  devised  and  scripted  drama  convey  meaning  
and  aesthetic  effect  (ACADRR052)  

Senior  Drama  Curriculum  Links    

Category  1  Examples  of  forms  and  styles  characterised  by  inherited  traditions,  defined  conventions  and  structures    

•  Realism  (required  study)    

Live  performance  for  Responding  assessment    

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
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List  of  References    
 

http://www.educationscotland.gov.uk/resources/nq/l/nqresource_tcm4228311.asp  

http://www.educationscotland.gov.uk/Images/drama-­‐look_back_in_anger_mak_tcm4-­‐118357.doc  

http://faculty.mu.edu.sa/public/uploads/1393230555.3203Osborne%20-­‐%20Look%20Back%20in%20Anger.pdf  

http://www.litcharts.com/lit/look-­‐back-­‐in-­‐anger/summary  

https://neoenglish.wordpress.com/2010/11/09/an-­‐analysis-­‐of-­‐jimmy-­‐porters-­‐anger-­‐in-­‐look-­‐back-­‐in-­‐anger/  

https://www.roundabouttheatre.org/Roundabout/media/Roundabout/PDF/UPSTAGE/LookBack_Upstage_lo.pdf  

http://www.tea4teachers.org/joomla/index.php?option=com_content&view=article&id=73:looking-­‐back-­‐at-­‐
osbornes-­‐anger&catid=38:publications&Itemid=37  
 
   
 
 
 

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