Abstract
Philip Ridley's three major works from the 1990s serve as powerful reminders of nostalgia's origin as a physical affliction caused by an acute longing for home and the past. The recurrence of nostalgia in his The Pitchfork Disney (1991) and The Fastest Clock in the Universe (1992) reflects larger, ongoing debates about nostalgia in British culture, from Thatcher's call for a return to Victorian values to the rise of Tony Blair's New Labour party and its championing of Cool Britannia, which looked back to 1960s Swinging London. Yet, in his final play of the decade, Ghosts from a Perfect Place (1994), Ridley suggests that nostalgia can be transformed from a purely retrospective gesture into a prospective one.
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