As a director of drama and teacher of history I enjoy an unusual but interesting combination of roles, with more overlap than one might expect. After all, plays are products of their time, even if they try not to be, and a healthy level of historical context can prove a very useful starting point in the rehearsal process. Similarly, play scripts and playwrights often provide a unique window into a historical period.
As a writer of musicals, I've been particularly conscious of the potential value in this overlap and this article will focus on one recent piece of writing which self-consciously aimed to exploit this potential.
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