In 1934, a group of Ashington miners and a dental mechanic hired a professor from Newcastle University to teach an Art Appreciation evening class. Unable to understand each other, they embarked on one of the most unusual experiments in British art as the pitmen learned to become painters. Within a few years the most avant-garde artists became their friends, their work was taken for prestigious collections and they were celebrated throughout the British art world; but every day they worked, as before, down the mine. "The Pitmen Painters" premiered at Live Theatre, Newcastle-upon-Tyne, in September 2007, before transferring to the National Theatre in 2008.
Lee Hall (born 20 September 1966) is an English playwright and screenwriter. He is best known for the 2000 film Billy Elliot.
Hall was born in Newcastle upon Tyne, Tyne & Wear, in 1966, the son of a house painter and decorator and a housewife. He was educated at Benfield School in Walkergate. As a youth he went to Wallsend Young People's Theatre along with Deka Walmsley and Trevor Fox who later appeared in both Billy Elliot and The Pitmen Painters. He went to Fitzwilliam College, Cambridge, where he studied English literature and was taught by the poet Paul Muldoon.[1] After leaving Cambridge, he worked as a youth theatre fundraiser in Newcastle and at the Gate Theatre in London. In 1997, his playwriting career was launched with the broadcast of his radio play, Spoonface Steinberg, on BBC Radio 4.[2]
I love intelligent and careful critiques of capitalism, as much as the next guy. But, Mr Halls message would have been more subtle if he had personally ran around the west end hitting people over the head with a big sign saying "capitalism bad".
Also, this must have been one hell of a boring play to sit through. All they do is move for one slightly different location to the next to stare and talk very (stiffly) about paintings.
i enjoyed this play a lot more than i expected to. it contained meaningful critiques of the art world, capitalism, and subsequently how art is influenced by capitalism, subjects which i found very interesting and hadn’t really encountered in a play before. furthermore, the short amount of pages and the characters’ witty banter made for a very quick and pleasant read.
unintentionally condescending at parts but i understand what he was going for, great moments of heart and soul from the pitmen though the ending left me in existential turmoil are we doomed is the north east doomed
A huge fan of this play. It delivers great humor without sacrificing the deep message of Art and who it belongs to. Pitmen Painters revolves around a group of Miners who sign up to take an 'Art Appreciation' class- after unsuccessfully trying to describe some of the values of famous paintings, the professor (Lyon) decides that a practical approach will serve better. The men begin painting from experience, creating some moving pieces still cherished to this day- for their grip on Art and their painful realization that Art can be appreciated by all- but not always accessible as a way of making their lives. Is art for only a certain class?
A remarkable play that examines the life of the Ashington Group of painters, a group of miners in the North of England who started taking an art appreciation class through the Workers Educational Association and ended in becoming painters themselves. It asks profound questions about the role of art, who is allowed to study art, and class distinction. A lovely thought provoking work that will send in in search of the paintings.
Fascinating play, based on a true story, of a bunch of uneducated miners in the '30's who take an art class and suddenly discover unknown reserves of talent (author Hall also wrote the novel/screenplay of 'Billy Elliot', so knows his way around the mining community). Would love to see it produced, but the technical requirements (and accents) prove a strong impediment to such - and I also deducted a star for it becoming overly preachy in parts.
I read this for a class and I found it enjoyable, witty, and slightly "paint-by-numbers," as it were. The arguments "for" and "against" are well articulated: art as personal, art as political; artists as different and talented, artists as ordinary and merely inhibited; what constitutes art's value; and so on.
Unexpected, moving stageplay based on the real experiences of Ashington coal miners. Brings the purpose, power and once-privileged aspects of art to light.