259:: the time when the quiet, close-knit and peaceful rural culture, governed by the seasons, began a transformation, through agricultural mechanisation, better communications and urban expansion, into the homogenised society of today. The transformation is not explicitly described. It appears as allegory, for example in Laura's first visit to Candleford without her parents: the journey from her tiny village to the sophisticated town representing the temporal changes that would affect her whole community. Although the works are autobiographical, Thompson distances herself from her childhood
248:, Thompson "was a sophisticated and imaginative writer, involved in a more complicated business than straightforward autobiography". The stories are told in the third person by 'Laura' (a version of the author's childhood self) who observes events directly, while the adult author is also present as a second narrator, commenting and reflecting on past events. Mabey comments that the counterpoint between these dual viewpoints "is part of what gives
320:. He drew on Thompson's own introductions to set the scene and her reflections on the fates of her characters from a future perspective – a future in which many of the boys just depicted had died in war – as a coda. In Dewhurst's words, his audience was to recognise the “common humanity” linking the nineteenth-century villagers and the contemporary audience.
35:
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by telling the tale in the third person; she appears in the book as "Laura
Timmins", rather than her real maiden name of Flora Timms. This device allows Thompson to comment on the action, using the voice of 'Laura' as the child she was and as the adult narrator, without imposing herself into the
237:": "To those who know England best through its novelists, this may be the first time they've heard the 'lower classes' speak for themselves — and salutary it is, too. The fine points of the class system may not be wholly elucidated by reading Thompson, but the tensions will be unmistakable."
280:, Hampshire. The novel described her life working in the post office at the turn of the century, but the period lacked the changing social significance portrayed in her earlier works, and she did not seek to have it published. It appeared posthumously in 1979.
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was nominated for "Best Play" and "Best
Director". “It is a most extraordinary event...It will send most spectators out wiser and happier human beings...one of those rare theatrical occasions with a genuine healing quality”, wrote theatre critic
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in 1978–9. Dewhurst's concept was to reflect the familiarity, one for another, of the village inhabitants by staging the plays as a promenade, with the theatre seats removed and the actors, musicians and audience intermingling.
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saw
Thompson's description of the disintegration of "a local self-acting society living by a fixed pattern of behaviour" as an elegiac evocation of what he called "this great tragic epic".
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Mabey noted that as
Thompson wrote her account some forty years after the events she described, she was able to identify the period as a pivotal point in
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Although the books describe village life through the seasons of the year, Dewhurst selected just two days: the first day of harvest for
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This article is about the novel trilogy by Flora
Thompson and its adaptations. For the 1980 album, see
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Commentary from someone who used to live quite near
Juniper Hill — the real village of "Lark Rise".
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from 13 January 2008 to 13 February 2011. The series was adapted by Bill
Gallagher and directed by
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made use of traditional songs as the basis for the score, performed by the
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See the Plot sections of the articles on the novels making up the trilogy:
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In
October 2005 the plays were revived by the Shapeshifter company at the
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Heritage, Nostalgia and Modern
British Theatre Staging the Victorians
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641:(21 September 1978). "Exercising the mind: Lark Rise Cottesloe".
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233:, Ariel Swartley described what she felt was "the revelation of
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166:(Candleford), one of the nearest towns (which include both
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The series began airing on PBS in the US in spring 2009.
178:(Candleford Green), where Flora got her first job in the
589:. Basingstoke, England: Palgrave Macmillan. p. 43.
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The stories relate to three communities: the hamlet of
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meet of the new year, a winter's day in
January, for
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in 1943. They were first published together in 1945.
664:. Newark DE: University of Delaware Press. p.
745:Billington, Michael (31 March 1978). "Lark Rise".
661:The Function of Song in Contemporary British Drama
658:Winkler, Elizabeth Hale (1990). "Keith Dewhurst".
323:The joint directors for the two productions were
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327:and Sebastian Graham-Jones. Laura was played by
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542:. London: Allen Lane. Prologue xvii-xviii.
292:adapted Thompson's trilogy into two plays,
288:The television scriptwriter and playwright
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28:Lark Rise to Candleford: a trilogy
16:Trilogy of novels by Flora Thompson
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689:Zierke, Reinhard (14 April 2007).
611:"Obituary: Sebastian Graham-Jones"
514:"Books: Flora Thompson's pig wash"
162:(Lark Rise), where Flora grew up;
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123:semi-autobiographical novels
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502:(OUP 1979 ) p. ix and p. xv
393:A BBC adaptation, starring
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472:"Diary of a country woman"
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540:Dreams of the Good Life
538:Mabey, Richard (2014).
500:Lark Rise to Candleford
371:in London, directed by
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235:Lark Rise to Candleford
118:Lark Rise to Candleford
83:Oxford University Press
712:"Olivier Winners 1978"
766:British Theatre Guide
647:. London. p. 9.
227:In a 1982 review in
848:1945 British novels
726:on 28 November 2010
616:The Daily Telegraph
329:Valerie Whittington
252:its unique voice".
39:First edition cover
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760:Taggart, Bronagh.
518:The Boston Phoenix
369:Finborough Theatre
356:Michael Billington
230:The Boston Phoenix
201:Over to Candleford
146:Over to Candleford
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383:Television
377:John Terry
318:Candleford
298:Candleford
274:Heatherley
164:Buckingham
730:7 October
644:The Times
409:, ran on
351:Lark Rise
333:John Tams
310:Lark Rise
294:Lark Rise
278:Grayshott
276:, set in
250:Lark Rise
220:In 1944,
195:Lark Rise
176:Fringford
143:in 1939,
140:Lark Rise
79:Publisher
172:Bicester
168:Brackley
63:Language
623:24 July
446:2 April
411:BBC One
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268:Sequel
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