Abstract
Alan Bennett is one of the most popular mainstream dramatists working in Britain today, his canon now a mainstay of regional and amateur theatre companies. Yet for a writer who was once compared to John Osborne as taking ‘the moral temperature of the nation’, his output is widely regarded as apolitical and, at worst, ‘safe’. In the following article, Richard Scarr suggests that this viewpoint is misleading, and argues that Bennett is not only one of the most politically contentious playwrights in dominant theatre, but that the ideological viewpoints he has supported have changed as his career has progressed. Richard Scarr is an English graduate of the University of North London, and has recently completed an MA in Renaissance Studies at Queen Mary and Westfield College. He is currently researching a PhD on the rhetoric of Renaissance comedy, with particular emphasis on the double-entendre.
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