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This Year's Theatre
when shelagh delaney’s The Lion in Love was first produced a few months ago at the Belgrade, it was widely condemned for not being “a play”. Jeremy Brooks, for example, in the New Statesman, advised Miss Delaney to spend “five years of her young life” and “find out what this mysterious thing called dramatic form really is”. She had, it was agreed, merely thrown haphazardly together a few slices of Salford life.
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