February 2003

Transferred to www.oscholars.com with minor revisions January 2009

The Associate Editor of THE OSCHOLARS with responsibility for helping with this issue of SHAVINGS was Julie A. Sparks of the Department of English, University of Arkansas-Monticello.

'Oh, Shaw! That's the man who smokes Jaeger cigarettes!'

– Oscar Wilde, quoted by Richard Le Gallienne: The Romantic Nineties. New edition. London: Putnam & Co. 1951 p.81.

Note: Subscribers to this Journal have their names printed in bold, and can be contacted through us.

Note: Subscribers to this Journal have their names printed in bold, and can be contacted through us at oscholars@gmail.com

Click  for the last issue of Shavings (January 2003); click    for the Table of Contents of this issue; click  to return to the Shavings home page.

1. The Plays

2. Shawlines

3. Review : Joseph Donohue: Mrs Warren’s Profession

4. A Shaw Anthology : Echoes of Oscar

5. Bibliographies and Links

6.  Shaw Associations

7.  Tailpiece

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1. The Plays

In this section we shall try to cover productions of Shaw’s pre-1901 plays, and news of productions of these (with offers of review) will be most welcome.  The plays are Arms and the Man (1894), Cæsar and Cleopatra (1898), Candida (1895), Captain Brassbound’s Conversion (1899), The Devil’s Disciple (1897), The Man of Destiny (1895), Mrs Warren’s Profession (1893), The Philanderer (1893), Widowers’ Houses (1892), You Never Can Tell (1895). (Dates of composition, not first performance.) Wilde is known to have attended the first night of Arms and the Man (20th April 1894).

There will be a production of Arms and the Man at the Studio Theatre of the College of New Jersey, Ewing NJ, 20th, 21st, 22nd, 27th, 28th February  & 1st & 2nd March. 

Raina	Elizabeth Livingston
Captain Bluntschli	Kurt Penney
Major Petkoff	Tom Moffit
Sergius	Saraniss Kyle Tinnes
Louka	Janet Quartarone
Nicola	Dale Simon
Soldier	Anthony Pirrotti

The Shaw Season at Niagara-on-the-Lake, Ontario, has been announced.  The plays for 2003 will be Widowers’ Houses (15th May to 4th October) and Misalliance (10th April to 2nd November) .

You Never Can Tell opened at the Chemainus Theatre, Vancouver on the 14th February and runs to the 5th April.
Starring Bernard Cuffling, John Innes, and John Krich.

Michael Friend has staged a number of Shaw’s plays at Shaw’s Corner, Ayot St Lawrence.  Full details of all the productions, cast lists, photographs, and touring plans for 2003, can be found at Error! Hyperlink reference not valid..
Saint Joan will be produced in July.

2. Shawlines

In this section we will print all the news that we find or, better still, are sent.  We especially welcome news of Shaw on curricula.

We also wish to record articles and papers relating to the earlier Shaw, and news of new editions of Cashel Byron’s Profession (1886), An Unsocial Socialist (1887), The Quintessence of Ibsenism (1891), Love Among the Artists (1900), as well as other related material.

ANNOUNCING THE ‘INTERNATIONAL SHAW SOCIETY’

Richard Dietrich writes

This is to announce the founding of the ‘International Shaw Society’ (ISS) and to invite your participation. 

This is the story.  On August 24th 2002, 21 people gathered at a ‘Shaw Summit’ at The Shaw Festival in Niagara–on–the–Lake, Ontario, and at the conclusion of a three–hour meeting, which I chaired, we agreed to the formation in principle of the ‘International Shaw Society,’ which will provide a means for those interested in the life, times, and career of Irish playwright George Bernard Shaw to organize their activities and interests and exchange information.  We also agreed to meet again at the same place about a year hence and to invite anyone else interested to attend. 

Please consider this a formal invitation to meet with us at 9:30 a.m. in the Market Room of the Court House (ground floor) in Niagara–on–the–Lake, Ontario, on August 20th, 2003. 

Our principal task between now and next August 20th is to establish a database of addresses.  If you are interested in joining us, please fill out the poll form below, print it out, apply scissors, and return it to the address below as soon as possible (or just copy and paste it into a fresh e-mail).  You may have to save it to your hard drive first. 

For the time being, the ISS will operate as an informal, voluntary, non–dues–paying organization, but the chief item on the August 20th agenda will be to decide whether the ISS should or should not become a legally–incorporated, dues–paying, not–for–profit organization. 

 Regardless of whether the ISS is incorporated or not, at the August 20th meeting we will attempt to arrive at bylaws and procedures and elect officers and committees.  Until then, we will be guided by two starter committees: our Steering Committee (Alan Andrews, Leonard Conolly, Bernard Dukore, Anthony Ellis, John Pfeiffer, Gale Larson, Lagretta Lenker, Michel Pharand, Julie Sparks, Rodelle Weintraub, Don Wilmeth, and myself, Dick Dietrich) and our Advisory Board (Sidney Albert, Ronald Bryden, Charles A. Carpenter, T. F. Evans, Dan H. Laurence, Barry Morse, Rhoda Nathan, and Stan Weintraub). 

We hope to see you at the August 20th meeting (details to be announced in July).  In the meantime, please take a look at the ISS website at http://chuma.cas.usf.edu/ ~dietrich/iss.htm and give us feedback on it. 

Now, please copy, paste, print and fill out the form below and send it by snail mail to the address below or copy and paste it into a return e-mail.  Thank you.

Richard F. Dietrich Chair, ISS Steering Committee

R. F. Dietrich English Department, University of South Florida, Tampa, FL 33620

PHONE: (813) 974–4025 or 920–2986.     FAX:  (813) 926–9814 
E-MAIL: dietrich@chuma1.cas.usf.edu
–  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  –  – 

POLL OF INTEREST IN THE ‘INTERNATIONAL SHAW SOCIETY’

NAME:

ADDRESS:

PHONE #:

E-MAIL ADDRESS:

INSTITUTIONAL AFFILIATIONS:

Please list other people who might be interested in the ISS that you think might have been overlooked in our mailing and, if possible, include their addresses (email preferred).  If you know of anyone interested in Shaw who has not received this announcement, please pass it on.

Will you be attending the August 20th meeting at the Shaw Festival in Ontario? (Yes    No    Maybe) 
(1/16/03) 

Please feel free to print out and copy this form, and please post it where it will do the most good and/or distribute it to whomever you think might be interested (such as graduate students in English and Theater).   Thank you, again. 

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The Dublin Writers Museum will hold an exhibition devoted to Shaw and to Sean O’Casey throughout March 2004.  If any readers have memorabilia that they are willing to lend, under the usual guarantees of security, insurance and proper curatorial care, please contact us.

Just published:

Wong, Linda Pui-ling.  ‘A New Reading of G. B. Shaw in a Chinese Context.’ Hawaii International Conference on Arts and Humanities: Conference Proceedings.  CD-ROM.  Honolulu: University of Hawaii-West Oahu,  2003.
ISSN#1541-5899.

3. REVIEW

Mrs Warren’s Profession.  Directed by Sir Peter Hall. Strand Theatre, London, 18th January  2003 (matinee)

Joseph W. Donohue

 This is one of the best revivals of a Shaw play I have ever seen.  It has been intermittently the critical fashion to denigrate this play for its somewhat clumsy structure, but Peter Hall has discovered—or newly revealed—the secret of its continued life: the authenticity of its probing analysis of the ills of a capitalist society, coupled with the authentic presentation of the deeply passionate feelings of two women caught in the snares of capitalist exploitation, each of whom must seek and find her own way to survive it all.  There should be a more, terse, elegant way to express this idea, but that’s the idea, all the same.

Peter Hall’s programme essay, ‘The Plays That Were Never Written’, comes down hard on the two hundred-plus years of theatrical censorship in England, during which time the Lord Chamberlain had unimpeachable power over the fate of all plays submitted for required censorship.  Hall blames the dearth of great plays over this long period on governmental stifling of dramatic creativity.  He doesn’t add that censorship cannot long succeed unless acquiesced to and endorsed by the society upon which it is imposed.  Managers from Colley Cibber to George Alexander and beyond were firmly opposed to lifting the iron rule of the Lord Chamberlain’s Examiner of Plays, until 1968, when censorship was finally abolished.  Hall makes a great thing of censorship, causing to be projected onto the Strand act curtain the following legend, visible at the beginning of each of the four scenes of the play—

  Mrs Warren’s Profession
  by Bernard Shaw
  Written 1893
  Banned until 1925

—and beneath it, a series of quotations from Shaw’s prefaces to the play, shown one by one at the beginning of each act or scene, of which the following is typical:  

All censorships exist to prevent anyone from challenging current conceptions and existing institutions.  All progress is initiated by challenging current conceptions and executed by supplanting institutions.  Consequently, the first condition of progress is the removal of censorships.  There is the whole case against censorships in a nutshell.

What Hall proceeds to do, if I read his approach to the play correctly, is to take it as his job to bring out the real emotional truth, in all its depth and complexity, of what happens, not just to the creative forces of the dramatist, but to the lives and fates of women, in this particular instance, exploited on the one hand and, on the other, condemned never to speak out against the oppression and suppression under which they live and suffer.  It is not a giant step from this perception to the realization that censorship is a necessary and true part of the apparatus of a repressive and exploitative capitalism.  One does not usually see Hall extolled as a champion of political radicalism; and he might reply to this, if asked, that he is simply staging what lies all too apparent in Shaw’s text.  Fair enough.  Structural imperfections aside (an example: the transparent ruse of there being only six sets of cutlery at Mrs Warren’s cottage; hence, two persons have to sit out supper until a second sitting, so that those two persons can have a dramatically relevant conversation), this is a brilliant play for its pairing of two women, mother and daughter, each of whom has the right to explain herself to the other, and does—less than half way through the play—a right denied by conventional society, which will not hear such ‘unpleasant’ things, but a right conferred by the radical dramatist Shaw.  Hall makes it his business, in other words, to show us censorship working simultaneously both inside the play, as part of the dramatic fiction, and outside it, in the long, baneful history of dramatic art from 1737 to 1968.  This is not the whole story, of course, but as a means of focusing our attention on the play, its characters and its insistent theme, it works exceedingly well.

And so all the materials for an absorbing afternoon in the theatre (a nice petty irony: Mrs Warren’s Profession as a Saturday matinee) are here.  They are fully, even brilliantly realized by six fine actors in this production, two of whom are making their West End debuts: Rebecca Hall as Vivie Warren (she is Peter Hall’s daughter) and Laurence Fox as Frank Gardner, both very well suited to their roles and both, let me venture to say, likely to launch fine, productive careers with these performances.  Peter Blythe was an expertly fey Praed, a dapper, mannered dandy whom a stiff wind might blow away; Richard Johnson as Sir George Crofts, the very image of a corrupt, cynical man of the world; James Saxon, as a blubbery Rev. Samuel Gardner, whose outsize double chin almost obscures his Roman collar—all do very well in supporting roles.

Brenda Blethyn is exceptionally fine and resonant as Mrs Warren, buxom, amply corseted, beautifully coiffed, sumptuously well dressed and evidently able to afford the most expensive milliner in town; for all that, she still bears many traces, including linguistic ones, of her origins in a fish shop near the Mint.  She is, as Frank ungenerously observes, a ‘caution’.  She is that, all right, and is nonetheless a commanding presence who manages any and every man in sight, but is finally no match for her daughter.

Rebecca Hall’s Vivie is a masterly creation by an actress who makes up in deeply felt truthfulness and genuine emotion what she lacks in experience.  In fact, it’s difficult to tell whether what we see is a freshness resulting from inexperience or a freshness expertly acted by a performer already able, competent, and beautifully present and focused.

In fact, Vivie is Shaw’s first really first-rate characterization of a type quite central to his habitual interests as a dramatist: a character, vital, intelligent and promising but naive and too trusting of the world, who is thrust into a situation of  a rude awakening, or sometimes of disillusionment, and who responds by adopting a new view of the world that accords much better with what she finds is really the case.  This is what happens to Vivie—and to Barbara Undershaft, and Ellie Dunn, and Joan, along with many others.  It is, finally, Shaw’s perennial subject.

This centrality is evident, poignantly and painfully so, in this play.  The pain is quite real.  The first stage of Vivie’s awakening is staged in the late hours of an evening in Mrs Warren’s holiday cottage, when Mrs Warren’s answer to Vivie’s impertinent question ‘Who are you, anway?’ tells Vivie more, much more, than she might ever want to know.  Still more is to be learned in Act II, scene one, in the Vicarage gartden, where Croft, stung by Vivie’s curt refusal of his offer of marriage, blurts out the ‘truth’ (we are perhaps a bit incredulous, at this point, sensing Croft’s vindictive tone) that Vivie and Frank are half-sister and -brother.  It is only in the last scene of the play that Vivie finds the courage to confront the bitterest of all truths: that she and her mother must part and never meet again.

Shaw, who loved the theatre in all its flamboyant excess, wrote a whopper of a final scene for his two lead actresses, and Brenda Blethyn makes the most of it, realizing despairfully the loss of the daughter on whom she has counted to make her life worthwhile, fighting the inevitability of the parting in grim, wailing tones, frightening and appalling in their intensity.  Bernhardt or Duse could have done that scene, and Mrs Patrick Campbell could have countered either one of them well as Vivie.  This is acting on a grand scale, and Hall encourages his actors pull out all the stops, notwithstanding the incongruity of the setting in the London City chambers of Honoria Frasier, actuarial consultant (who is conveniently out of the office for the day).

Not, finally, in the same class with Arms and the Man, some of the Court plays, Misalliance, and the brilliant work of Shaw’s post-war maturity, Mrs Warren’s Profession has nonetheless had its share of rewarding productions over the years.  Granted, sometimes it appears trailing the tell-tale residue of the ‘blue book’ dramatic tract, a condition it perhaps can never shake off altogether.  But it deserves much more than the devoted attempt to make amends for early neglect that sometimes undermines a well-intentioned revival.  Hall will have none of that.  Not in the least apologetic for any supposed deficiencies, this production had a vibrancy, a tautness, and a combination of seriousness and brightness that captures an audience’s attention and holds it to the last.

Mr Praed: Peter Blythe, Vivie Warren: Rebecca Hall, Mrs Warren: Brenda Blethyn, Sir George Crofts: Richard Johnson, Frank Gardner: Laurence Fox, The Rev. Samuel Gardner: James Saxon.  Designed by John Gunter.  Lighting by Hartley T. A. Kemp.  First performance at this theatre: 2nd October 2002.

© Joseph W. Donohue 2003 University of Massachusetts, Amherst.

4. A Shaw Anthology

Echoes of Oscar

‘It is almost incredible that Oscar’s essays and novels and dramas should not have had an effect upon the mind and conceptions of a man like Shaw’.
– H.M. Hyndman: Further Reminiscences  London: Macmillan 1912 p.221

Cashel Byron’s Profession was written some years before the greater part of Wilde’s work was undertaken, but it reveals how Shaw was also dipping into the same pool as Wilde.  Here is Lydia Carew on railway trains:

A train is a beautiful thing.  Its pure white fleece of steam harmonises with every variety of landscape.

This was said at Clapham Junction, where in November 1895 Wilde had other things on his mind.

Cashel Byron’s Profession also has a prominent character called Lord Worthington.   Had it been written ten years later we would have seized on this compound of John Worthing and Lord Darlington, while Wilde’s Lady Roxton and Lady Plymdale seem to combine in Shaw’s Lady Roxdale (Widowers’ Houses)

John Cooper draws our attention to the following:

In this world there are two tragedies. One is not getting what one wants, and the other is getting it. The last is much the worst.
– Lady Windermere’s Fan, Act 3.

There are two tragedies in life. One is to lose your heart’s desire. The other is to gain it.
– Man and Superman, Act 4.

5. Bibliographies & Links

GBS for Wildëans: A Bibliography of 19th century Shaw.

This will be a cumulative bibliography as references come to hand.

Beerbohm, Max: Around Theatres.  London: Rupert Hart-Davis 1953.

This carries reviews of plays published in the Saturday Review, namely The Devil’s Disciple (‘"G.B.S." at Kennington’, 7th October 1899, pp.38-41; and the 1907 revival ‘Mr. Vedrenne’, 26th October 1907, pp.481-4); You Never Can Tell (12th May 1900, pp.78-9); the 1901 reprint of Cashel Byron’s Profession (‘A Cursory Conspectus of G.B.S.’, 2nd November 1901, pp.171-5); Mrs Warren’s Profession (‘Mr Shaw’s Tragedy’, 1st February 1902, pp. 191-5); the 1907 revival of The Philanderer (9th February 1907 pp.449-51); and the 1908 revival of Arms and the Man (4th January 1908, pp.491-3).  There is also a review of the published edition of Three Plays for Puritans (The Devil’s Disciple, Cæsar and Cleopatra and Captain Brassbound’s Conversion) (‘Mr Shaw Crescent’, 26th January 1901, pp. 118-22).

Outside our current range are reviews of The Doctors’ Dilemma, Getting Married, John Bull’s Other Island, Major Barbara, Man and Superman, Misalliance, and Pygmalion.

Beerbohm, Max: More Theatres. London: Rupert Hart-Davis 1969. This volume contains Beerbohm’s pieces for the Saturday Review that he omitted from the first edition of Around Theatres (1924), an omission followed in the 1953 edition.

This volume opens with three squibs against Shaw ‘G.B.S. Oblige’ (9th April 1898, pp.17-21), ‘Mr Shaw’s Profession’ (14th May 1898, pp.21-4) and ‘Mr Shaw’s Profession II’ (pp.25-7, 21st May 1898).  These contain allusions to Arms and the Man (p.25), Candida (p.26), Mrs Warren’s Profession (pp.21-4, 25), Plays Pleasant and Unpleasant (p.11), The Devil’s Disciple (pp.21, 335), The Philanderer (p.21), Widowers’ Houses (21, 25), You Never Can Tell (pp.25, 26).

There are further references to Mrs Warren’s Profession (p70), Arms and the Man (p267), Cæsar & Cleopatra (p.271).

The volume also contains a review of Captain Brassbound’s Conversion (29th December 1900, pp.335-7).  From beyond our period is The Admirable Bashville (pp.580-2).

Borsa, Mario: The English Stage of To-day.  Translated from the original Italian and edited with a prefatory note by Selwyn Brinton M.A.  London: John Lane The Bodley Head 1908.   This has one chapter on Shaw.

Chapter IV: G.B.S.

Boyd, Ernest A.: Appreciations and Depreciations, Irish Literary Portraits.  Dublin: Talbot Press & London: T. Fisher Unwin 1919.  This has one chapter on Shaw.

Chapter V: An Irish Protestant, Bernard Shaw.

Innes, Christopher (ed.): The Cambridge Companion to George Bernard Shaw.  Cambridge: Cambridge University Press 1998.  This contains four essays on the younger Shaw:

Gordon, David J.: Shavian Comedy and the Shadow of Wilde;
Kelly, Katherine E.:  Imprinting the Stage: Shaw and the Publishing Trade 1883-1903;
Marker, Frederick J.: Shaw’s early plays;
Powell, Kerry: New Women, new plays, and Shaw in the 1890s.

Jackson, Holbrook: The Eighteen Nineties. 1913.  Pelican Books 1939.  This contains a chapter devoted to Shaw.

Chapter XIV: Enter G.B.S.

Kennedy, J.M. English Literature 1880-1905.  London: Stephen Swift 1912.  This contains one chapter on Shaw.

Chapter VI: George Bernard Shaw.

Laurence, Dan H.: Bernard Shaw, Collected Letters 1874-1897.  London: Max Reinhardt 1965.

Laurence, Dan H.:  Bernard Shaw, Collected Letters 1898-1910.  London: Max Reinhardt 1972.

Meisel, Martin: Shaw and the Nineteenth Century Theater.  Princeton University Press 1963; new edition New York: Limelight Editions 1984 ISBN 0-87910-017-6.

Morgan, A.L.: Tendencies of Modern English Drama.  London: Constable 1924.  This contains three chapters on Shaw:

Chapter VI.  Shaw the Iconoclast–Dramatic Iconoclast
Chapter VII:  Shaw the Iconoclast–Social Iconoclast
Chapter VIII: Shaw the Philosopher.

– and covering a later period than the pre-1901 Shaw, the following should be mentioned:

Hyde, Mary (ed.): Bernard Shaw and Alfred Douglas, A Correspondence.  London: John Murray 1982.

The following bring together Shaw and Wilde:

Bader, Earl Delbert:  ‘The Self-Reflexive Language: uses of Paradox in Wilde, Shaw and Chesterton .’ Ph. D. dissertation. Indiana University 1962.
Beckson, Karl:  ‘Oscar Wilde’s Celebrated Remark on Bernard Shaw.’  Notes and Queries 41(239): 3 Oxford 1994.
Gollin, Richard M.: ‘Beerbohm, Wilde, Shaw and ‘The Good-Natured Critic’. ‘ Bulletin of the New York Public Library 68, New York February 1964.
Harris, Frank: Oscar Wilde, including My Memories of Oscar Wilde by George Beranrd Shaw.   Carroll: New York 1997.
Harris, Frank: Oscar Wilde: His Life & Confessions, with memories of Oscar Wilde by Bernard Shaw and Criticisms by Robert Ross.  The author, 2nd edition, the first with the pieces by Shaw and Ross. New York 1918.
Harris, Frank: Oscar Wilde: His Life & Confessions.  Together with Memories of Wilde by Bernard Shaw. The author.  London 1918.
Harris, Frank: Oscar Wilde: His Life & Confessions.  Together with Memories of Wilde by Bernard Shaw. New York: Crown Publishing Co  1930.
Hill, John Edward: ‘Dialectical Æstheticism — Essays on the Criticism of Swinburne, Pater, Wilde, James, Shaw and Yeats’.   University of Virginia Thesis Virginia 1972.
Jordan, John: ‘Shaw, Wilde, Synge and Yeats: Ideas, Epigrams, Blackberries and Chassis’ Wolfhound in The Irish Mind; Exploring Intellectual Traditions Dublin 1985.
Koritz, Amy E.: ‘Gendering Bodies, Performing Art: Theatrical Dancing and the Performance Æsthetics of Wilde, Shaw & Yeats’.  Dissertation Abstracts International 50 : 3 [North Carolina 1988] Ann Arbor 1989.
Lee, Josephine D.: ‘Language & Action in the Plays of Wilde, Shaw & Stoppard’.  Dissertation Abstracts International 48 : 7 Ann Arbor 1988.
Livermore, Ann:  ‘Goldoni, Wilde and Shaw: Co-Inventors of Comedy’. Revue de la Littérature Comparée 53
pp.108-24  1979.
Loughney, Martin: Springs of Irish Wisdom: Shaw, Wilde, Swift, Yeats. Dublin: Infinity Books  1989.
Nassaar, Christopher Suhal: ‘Wilde’s Lady Windermere’s Fan and Shaw’s Mrs Warren’s Profession’.  Explicator 56
pp.137-8 Washington DC 1998.
Powell, Kerry: ‘Wilde, Shaw and Women of the Stage’.  William Andrews Clark Memorial Library Conference: Oscar Wilde and the Culture of the Fin-de-Siècle, Session II Los Angeles 5th March 1999.
Roy, Emil: British Drama Since Shaw [Chapter on The Importance of Being Earnest] Carbondale and London : Southern Illinois U.P. & Feffer and Simons  1972.
Ruff, William: ‘Shaw on Wilde and Morris, A Clarification’  Shaw Review 11 : 1  January 1968.
Sherard, Robert Harborough: Bernard Shaw, Frank Harris & Oscar Wilde.   New York 1936.
Sherard, Robert Harborough: Bernard Shaw, Frank Harris & Oscar Wilde. T. Werner Laurie  London 1937.
Sherard, Robert Harborough: Oscar Wilde ‘Drunkard & Swindler’: A Reply to George Bernard Shaw, Dr G.J. Renier, Frank Harris etc. Calvi: Vindex Publishing Co.   1933.
Weintraub, Stanley: ‘"The Hibernian School": Oscar Wilde and Bernard Shaw.’  SHAW: The Annual of Bernard Shaw Studies  13  1993.
Weintraub, Stanley:   Shaw’s People: Victoria to Churchill. University Park, Pennsylvania: 1996.
Wisenthal, J. L.: ‘Wilde, Shaw and the Play of Conversation Modern Drama’ (U. of Toronto Graduate Centre for Study of Drama) 37:1 Downsview, Ontario Spring 1994.

· We welcome additions and corrections, and would much like to hear from any of the writers still living.

A list of websites kindly provided  by Richard Dietrich (University of South Florida):

BERNARD SHAW SOCIETY WEB SITE (see illustration below):
http://chuma.cas.usf.edu/~dietrich/shawsociety.html

UNIVERSITY PRESS OF FLORIDA SHAW SERIES WEB SITE:
http://www.upf.com/shaw.html
http://www.upf.com/se-shaw.html

SHAW BIZNESS WEB SITE:
http://chuma.cas.usf.edu/~dietrich/shawbizness.html

INTERNATIONAL SHAW SOCIETY WEB SITE:
http://chuma.cas.usf.edu/~dietrich/international_shaw_society/index.html

THE SHAW FESTIVAL
http://www.shawfest.com

UNIVERSITY OF SOUTH FLORIDA SHAW CONFERENCE 2004 AT SARASOTA:
http://chuma.cas.usf.edu/~dietrich/USFShawConference2004-Sarasota/index.html

BRITISH DRAMA 1890-1950:
http://chuma.cas.usf.edu/~dietrich/britishdrama.htm

Other websites include
http://www.infography.com/content/272906973619.html (a bibliography)
http://www.therightside.demon.co.uk/quotes/shaw/ which has 123 quotations from Shaw, but irritatingly does not source them.
http://www.georgebernardshaw.com/ is The Bernard Shaw Information & Research Service, which has as its Patrons Dame Diana Rigg, Dame Wendy Hiller, Brian Cox, Richard E Grant and Jerry Hall, a remarkable list.
http://www.phnet.fi/public/mamaa1/shaw.html  also gives an unsourced list of ‘quotes’ – ‘one-liners’ – presented in a table.  The best use of it is to check all those sayings ascribed to Wilde that are in fact by Shaw.
http://www.shawchicago.org is the site of the Shaw Chicago Theatre Company, specialising in Shaw’s plays.
http://www.theheritagetrail.co.uk/notable%20houses/shaws%20corner.htm has two pictures of Shaw’s house and a brief account.
http://www.bbc.co.uk/history/programmes/centurions/shaw/shawbiog.shtml gives a biography of Shaw as it appeared to the BBC compilers.
http://mobydicks.com/lecture/BernardShawhall/wwwboard.html is a discussion group, with the somewhat brassbound greeting ‘Ahoy mate! Welcome to the new Bernard Shaw lecture hall!  The old Bernard Shaw lecture hall may be found at http://mobydicks.com/lecture/BernardShawhall/wwwboard23.html Visit the Bernard Shaw Live Chat, and use the forum below to schedule a chat session.’
http://www.lyfe.freeserve.co.uk/quoteshaw.htm is another site with Shaw quotations, again, irritatingly, unsourced.  Substitute wilde for shaw in the URL for an Oscar Wilde quotation site.

6. SHAW ASSOCIATIONS

The Bernard Shaw Society may be reached at P.O. Box 1159, Madison Square Station, New York, N.Y. 10159-1159

The Society publishes The Independent Shavian.

The Independent Shavian appears three times a year and is sent to all members of the Bernard Shaw Society at no charge as part of their membership dues.

· The Irish Shaw Society maintains no website but may be contacted through the Hon. Secretary, Mrs Breda O’Brien, 59 Ludford Park, Ballinteer, Dublin 16 (no e-mail).

7. TAILPIECE

‘Most of the distinguished personalities of the Eighteen Nineties challenged somebody or something.  George Bernard Shaw challenged everybody and everything.’

— Holbrook Jackson: The Eighteen Nineties.

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