What is the title of Samuel Beckett's radio play, and what was its original working title?

The radio play by Samuel Beckett is titled *All That Fall*. The autograph copy of the script was titled *Lovely Day for the Races*.

For which broadcasting organization was Samuel Beckett's radio play *All That Fall* produced, and when was it completed?

*All That Fall* was written following a request from the BBC and was completed by Samuel Beckett in September 1956. The BBC is a public service broadcaster in the United Kingdom.

Who translated Samuel Beckett's play *All That Fall* into French, and what is the French title?

Robert Pinget translated *All That Fall* into French, with revisions made by Beckett himself. The French title of the play is *Tous ceux qui tombent*.

What was Samuel Beckett's initial reaction and state of mind when developing the idea for *All That Fall*?

When the idea for *All That Fall* came to him, Beckett described it as a "nice gruesome idea full of cartwheels and dragging of feet and puffing and panting." The writing process, though quick, caused him to sink into what he called "a whirl of depression," leading him to cancel appointments.

When and where did the first broadcast of *All That Fall* take place, and who were some of the key performers?

The play *All That Fall* was first broadcast on the BBC Third Programme on January 13, 1957. The cast included Mary O'Farrell as Maddy Rooney, J. G. Devlin as her husband Dan, and featured early roles for future Beckett collaborators Patrick Magee and Jack MacGowran.

Who is Maddy Rooney, the central character of *All That Fall*, and what are her defining characteristics?

Maddy Rooney is the central character of *All That Fall*, described as a gritty, outspoken, septuagenarian Irish woman. She is plagued by physical ailments, such as rheumatism, and personal sorrows, including childlessness, and is noted to have a distinct Irish accent.

What is Maddy Rooney's objective as she walks down the country road at the beginning of the play?

Maddy Rooney is walking down a country road towards Boghill station to surprise her husband, Dan, by meeting him off the 12:30 train on his birthday. She has already given him a tie, but intends to meet him personally.

Describe Maddy Rooney's first encounter on her journey, involving Christy.

Maddy first encounters Christy, a dung carrier, who attempts to sell her a load of manure. Her hinny, which is pulling the cart, is tormented by horse-flies and is reluctant to move, requiring Christy to whip it.

What sensory detail distracts Maddy Rooney during her walk, and what happens during her encounter with Mr. Tyler?

The smell of laburnum distracts Maddy. During her encounter with Mr. Tyler, who rings his cycle bell, they are nearly hit by Connolly's van, which covers them in dust. Tyler also discusses his daughter's operation that rendered her unable to bear children.

How does Mr. Slocum assist Maddy, and what unfortunate event occurs as he drives her?

Mr. Slocum, a racecourse clerk, offers Maddy a ride in his limousine. After some difficulty getting her into the car and a brief mechanical issue with the engine, he accidentally runs over and kills a hen.

What thematic progression is suggested by the various problematic modes of transport Maddy encounters on her way to the station?

The progression of problematic transport—Maddy's difficult walking, Christy's reluctant hinny, Tyler's flat tire, and Slocum's stalled engine—foreshadows the difficulties and potential dangers associated with the larger, mass modes of transport like the train, hinting at themes of unreliability and peril in the characters' lives.

Who is Tommy, and what is his role at the railway station in *All That Fall*?

Tommy is the porter at Boghill station. He assists Mr. Slocum in extricating Maddy from his car after she gets her frock caught in the door. Maddy later speaks abrasively to him, feeling ignored and asserting her perceived non-existence.

What is the significance of Maddy Rooney's description of the station stairs, and how does it contrast with her earlier journey?

Maddy describes the stairs as a "cliff," while her husband calls them a "precipice" and Miss Fitt compares them to the "Matterhorn." This imagery contrasts sharply with the relatively flat country road of her outward journey, emphasizing the increased difficulty and perceived danger of the return trip.

What is revealed to be the cause of the train's delay in *All That Fall*?

The train was delayed because a child fell out of a carriage onto the line and was run over by the train. This revelation is delivered by Jerry, a boy who helps Mr. Rooney.

What unsettling memory does Maddy recall during her walk home, and what is its connection to the play's themes?

Maddy recalls a lecture by a "mind doctor" about a young girl who died because she had "never really been born." This story connects to the play's themes of birth, death, and the potential for non-existence or incomplete existence.

How does the play *All That Fall* use the biblical quote "The Lord upholdeth all that fall and raiseth up all those that be bowed down"?

Maddy tells Dan the text of the sermon, "The Lord upholdeth all that fall and raiseth up all those that be bowed down." This quote is immediately followed by Maddy and Dan bursting into laughter, which can be interpreted as a dark, existential reaction to their suffering in a world perceived as lacking divine intervention.

What does Maddy Rooney's statement, "We are alone. There is no one to ask," suggest about her worldview?

This statement suggests Maddy's profound sense of isolation and her questioning of faith or higher powers. It implies a belief that individuals are solely responsible for their own existence and suffering, without external guidance or solace from a divine entity.

What object does Jerry return to Mr. Rooney, and what is its potential symbolic significance?

Jerry returns a "kind of ball" that Mr. Rooney dropped. This object is identified in the text as a significant motif of childhood grief for Samuel Beckett, linking the play's themes to enduring loss and memory.

How does the play *All That Fall* explore the theme of death through various elements?

The theme of death is pervasive, introduced by Schubert's *Death and the Maiden*, symbolized by the poisonous laburnum, and reflected in characters' recollections of deceased loved ones like Minnie and Mr. Barrell's father. The play culminates with the death of a child under the train, and references to sinking ships like the *Titanic* and *Lusitania* further underscore mortality and disaster.

What physical and psychological ailments affect the characters in *All That Fall*?

The characters suffer from a range of afflictions: Maddy is obese and experiences rheumatism, heart, and kidney trouble. Dan is blind, has an old wound, and a heart condition. Other characters, like Christy's wife and daughter, and Mrs. Tully's husband, are also described as unwell or in pain, contributing to an atmosphere of pervasive suffering.

In what ways does *All That Fall* engage with themes of sex and desire?

The play includes flirtatious interactions, such as Maddy's indecent invitation to Mr. Tyler. Mr. Slocum's dialogue ("slow come") and Maddy's suggestive comments as she enters his car hint at sexual undertones. Dan's preference for the romantic plot of *Effi Briest*, which involves adultery, over engaging with his wife also suggests a disconnect in their marital intimacy.

How is the concept of birth, or the lack thereof, explored in *All That Fall*?

Birth is explored through Maddy's difficult entry into Slocum's car, likened to childbirth, and Dan's feeling of being "confined." The memory of the girl who was "never really born" and Dan's potential role as an "obstetrician of death" further complicate the theme, suggesting that birth can lead to death or that some characters exist in a state of metaphorical non-birth.

What is the significance of children, or the absence of them, in the play?

The absence of children is a key sorrow for Maddy and Dan, highlighted by Maddy's childlessness and her imagined daughter Minnie approaching menopause. Tyler's daughter's hysterectomy means his family line will end. The play also features the tragic death of a child and the unsettling presence of hostile children like the Lynch twins, underscoring themes of loss, vulnerability, and the precariousness of life.

How does Samuel Beckett incorporate references to Dante Alighieri's *The Divine Comedy* into *All That Fall*?

References to Dante appear in the play, such as characters cursing their conception, echoing the damned souls in Inferno Canto III. The steep station stairs are likened to Mount Purgatory, and Dan's suggestion of walking backward mirrors the twisted posture of the damned in Inferno Canto XX, who face backward as their tears run down their backs.

What role does music play in the structure and thematic development of *All That Fall*?

Music, specifically Schubert's *Death and the Maiden*, provides thematic and structural elements. The play's progression is likened to sonata form, with distinct movements corresponding to Maddy's outward journey (exposition), her wait at the station (development), and her return journey with Dan (recapitulation), mirroring the structure of Schubert's string quartet.

How does the play *All That Fall* utilize sound effects to enhance its narrative?

Beckett requested that natural sounds be adapted in unnatural ways—slowed down, sped up, echoed, or fragmented—to reflect the psychological journey of the main character. These experimental techniques, developed by sound technician Desmond Briscoe and his operator Norman Baines, were crucial in creating the play's unique auditory landscape.

What was the broader impact of the sound design in *All That Fall*?

The innovative sound experiments conducted for *All That Fall* directly contributed to the establishment of the BBC Radiophonic Workshop. This marked a significant technical advancement in the art and technology of radio broadcasting in Britain.

How did Samuel Beckett feel about adapting *All That Fall* for visual media like television or stage?

Samuel Beckett initially considered it "unthinkable" to transfer *All That Fall* to another medium, believing that any visual dimension would be "destructive of whatever quality it may have," which depended on the experience "coming out of the dark." He felt that staging it would kill the play's essence.

Despite Beckett's reservations, what types of adaptations of *All That Fall* were eventually permitted or created?

While Beckett was unhappy with early authorized adaptations like a French TV version and a German stage production, later productions, such as a 2006 New York staging, found ways to comply with his wishes. These often focused on the elaborate sound effects as a spectacle and had actors perform as if in a live radio broadcast, sometimes without acknowledging the audience.

What is the critical reception of *All That Fall*?

*All That Fall* was met with critical acclaim upon its premiere. Critics have praised its "captivating, complex humanity," and Michael Billington considers it Samuel Beckett's best play.

How does the play's setting draw from Samuel Beckett's personal life?

Beckett set *All That Fall* in the Dublin suburb of Foxrock, using familiar locations and drawing on names and experiences from his childhood. This grounding in his personal history provided a realistic backdrop for the drama, even as it explored universal themes of human suffering and existence.

What is the significance of the laburnum tree mentioned in the play?

The laburnum tree is mentioned as a sensory distraction for Maddy. It is also noted that all parts of the laburnum are poisonous, containing an alkaloid poison, which adds a subtle layer of potential danger to the natural elements within the play and connects to themes of life and death.

What does Maddy Rooney's statement "It is suicide to be abroad" imply?

This statement is a pun, playing on "abroad" and "a broad" (a woman). It suggests that being alive and navigating the world as a woman is inherently perilous, and her potential death might be seen as her own fault due to her gender, contrasting with the alternative of remaining in a protected, womb-like state.

How does the play *All That Fall* reflect on the nature of existence and the divine?

The play questions the existence or benevolence of a divine being, particularly after the revelation of the child's death. Maddy's statement "We are alone. There is no one to ask" and the characters' laughter at the sermon text suggest a bleak outlook where human existence is characterized by suffering and isolation, with little hope for divine intervention.

What is the significance of the "dead hen" incident?

As Mr. Slocum drives Maddy, his car runs over and kills a hen. This event, occurring after Maddy's difficult entry into the car and before the car's engine dies, adds another instance of death and disruption to the journey, highlighting the fragility of life and the mechanical failures encountered.

How does the play connect to the idea of characters being "not really there"?

Miss Fitt expresses that she is "just not really there at all," and Maddy tells Tommy, "I do not exist." This theme reflects a sense of existential detachment or unreality experienced by some characters, questioning their presence, significance, and connection to the world around them.

What is the role of Mr. Tyler's daughter's surgery in the play?

Mr. Tyler mentions that his daughter's operation has rendered her unable to bear children. This detail contributes to the play's exploration of childlessness and the cessation of family lines, adding to the overall sense of decay and loss depicted in the narrative.

How does the play use the concept of "childhood grief"?

The ball returned by Jerry is identified as a motif of childhood grief for Beckett. This suggests that the play, while dealing with adult characters and their adult sorrows, also touches upon the enduring impact of early loss and trauma on individuals.

What is the meaning behind the remark "bawdy hour of nine"?

When discussing the train's lateness, Mr. Tyler mentions the signal at the "bawdy hour of nine." This phrase is noted as another reference to sex in the play and is presented humorously, with the stationmaster stifling a laugh, adding a touch of dark levity to the dialogue.

How does the play portray the relationship between Maddy and Dan Rooney?

The relationship between Maddy and Dan Rooney appears strained and distant. Maddy is talkative and seeks connection, while Dan is laconic and avoids her attempts at intimacy, preferring to focus on the novel *Effi Briest*, which features adultery, suggesting his interest lies more in fictional romance than his marital reality.

What is the significance of the "clashing of couplings" mentioned in the play?

The "clashing of couplings" is mentioned in the context of the train's arrival and is linked to Maddy's cries of "The up mail!" and Tommy's cry, "She's coming!" This phrase, along with the surrounding dialogue, contributes to the birth and death imagery at the climax of the station scene.

How does the play use the motif of "golden drizzle"?

Maddy refers to the laburnum tree as producing "golden drizzle" on the way home. This phrase, linked to the tree's beauty and its association with both life and death, adds to the play's rich symbolic language and sensory descriptions.

What is the significance of the name "Miss Fitt"?

The name "Miss Fitt" is described as a clever pun. It suggests she is a self-righteous misfit, and her character embodies a certain detachment from reality, as she hums a hymn and seems not fully present in her interactions.

What is the significance of the reference to the *Titanic* and *Lusitania*?

The mention of the *Titanic* and *Lusitania* as modes of mass transport during the station scene serves to heighten the sense of danger and potential disaster. The sinking of the *Lusitania*, in particular, is recalled with the loss of many lives, reinforcing the play's pervasive themes of death and catastrophe.

How does the play's structure mirror musical composition?

The play's structure is compared to sonata form, with distinct movements corresponding to Maddy's outward journey (exposition), her wait at the station (development), and her return journey with Dan (recapitulation). This musical parallel suggests a deliberate composition aimed at creating a complex, layered listening experience, akin to listening to difficult music.

What is the meaning behind the title *All That Fall*?

The title *All That Fall* directly references the biblical quote about the Lord upholding those who fall, but in the context of the play, it takes on a more somber meaning. It reflects the numerous instances of falling, failure, death, and suffering experienced by the characters, suggesting a world where falling is a constant state.

How does the play use the concept of "dead language"?

Dan Rooney refers to Maddy's speech as "struggling with a dead language." This could imply that her verbose and perhaps outdated way of speaking is ineffective or meaningless in their current dire circumstances, or it might allude to the breakdown of communication and meaning in general.

What is the significance of the "womb-tomb" concept mentioned in relation to Dan's office?

Dan's office at the terminus is described as a "wombtomb," a place that is both a womb-like refuge and a tomb, representing a state of living death or stagnation. This imagery highlights the oppressive and lifeless nature of his work environment, situated at the "end of the line."

How does the play depict the contrast between male and female voices and experiences?

The play often contrasts the loquaciousness of Maddy with the laconic nature of Dan. The musical structure also suggests a shift from a "feminine" outward journey to a more "masculine" development at the station, and a final submission of the female voice to the more brutish male tones of Dan on the return journey, reflecting differing experiences and power dynamics.

All That Fall Wiki: Echoes in the Void: Deconstructing Beckett's 'All That Fall'

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Introducing 'All That Fall'

A Masterpiece of Radio Drama

Samuel Beckett's All That Fall is a profound one-act radio play, meticulously crafted following a request from the BBC. Completed in September 1956, its original manuscript bears the evocative title Lovely Day for the Races. The play was later translated into French by Robert Pinget, with Beckett's own revisions, and published as Tous ceux qui tombent.^[2]

The Genesis of an Idea

Beckett's creative process for this work was intense and deeply personal. He described the initial concept to a friend as a "nice gruesome idea full of cartwheels and dragging of feet and puffing and panting."^[3] The writing itself was rapid, yet the subject matter plunged Beckett into a state of profound introspection, leading him to cancel engagements and retreat from social interaction.^[4]^[5]

Premier Broadcast and Key Personnel

The play received its inaugural broadcast on the BBC Third Programme on January 13, 1957. It featured the notable performances of Mary O'Farrell as Maddy Rooney and J. G. Devlin as her husband, Dan. The production was overseen by Donald McWhinnie and included early contributions from actors who would become integral to Beckett's theatrical legacy, such as Patrick Magee and Jack MacGowran.^[6]

Synopsis: A Journey of Suffering

The Trip to the Station

The play centers on Maddy Rooney, a septuagenarian Irish woman characterized by her outspoken nature, physical ailments (rheumatism, childlessness), and a palpable sense of existential weariness. The narrative follows her arduous journey along a country road towards the railway station on her husband Dan's birthday. Despite her physical difficulties, she intends to surprise him. Along the way, she encounters several figures: a dung carrier, Christy; an old man, Mr. Tyler; and an acquaintance, Mr. Slocum, who offers her a ride in his car. Each encounter is marked by Maddy's philosophical musings, her physical struggles, and the often absurd or unsettling interactions with others. The journey is punctuated by auditory cues, including chamber music, and the sounds of rural life, all filtered through Maddy's subjective experience.

At the Station

Upon reaching the station, Maddy's condition deteriorates, and she experiences further unsettling encounters. She interacts with the stationmaster, Mr. Barrell, and a young boy named Tommy. She also meets Miss Fitt, a self-righteous woman who offers assistance with a condescending air. The train's delay adds to the tension. When her husband, Dan, finally arrives, he is revealed to be blind and frail, mirroring Maddy's own physical decline. Their interaction is fraught with unspoken tensions and Maddy's attempts to elicit information from the taciturn Dan about the train's delay. The journey back begins under worsening weather conditions.

The Return Journey

The walk home is undertaken in increasingly inclement weather, mirroring the characters' internal states. Maddy and Dan are subjected to taunts from unseen children (the Lynch twins) and engage in bleak conversations about life, death, and the possibility of violence. Dan's cryptic remarks and Maddy's persistent questioning create an atmosphere of suspense. A pivotal moment occurs when the boy Jerry reveals the reason for the train's delay: a child fell under its wheels. This revelation casts a dark shadow over their journey and the play's overarching themes of suffering and mortality. The play concludes with the couple nearing home, their laughter a response to the profound absurdity and bleakness of their existence.

Biographical Context

Echoes of Foxrock

Beckett drew heavily from his personal history and childhood environment in County Dublin for All That Fall. The play's setting, the journey from Brighton Road to Foxrock station (referred to as Boghill), and many of the names and character archetypes are rooted in his experiences growing up in Foxrock. For instance, the gardener Christy and the market gardener Watt Tyler were figures from Beckett's youth. The shared pew at Tullow Church also finds its way into the play's landscape.^[36]^[40]^[41]

Inspirations and Puns

The character of Maddy Rooney may have been inspired by Beckett's kindergarten teacher, Ida "Jack" Elsner, known for her falls.^[38] The name Miss Fitt itself is a deliberate pun, reflecting her character as a misfit. The play is rich with subtle references, including the mention of the hymn "Lead, Kindly Light," famously played as the Titanic sank, and the sinking of the Lusitania, both evoking themes of disaster and loss.^[94]^[95]

Literary and Philosophical Underpinnings

Beckett's deep engagement with Dante Alighieri's Divine Comedy is evident. The characters' suffering and their twisted perspectives echo the punishments described in Dante's Inferno, particularly Canto III and Canto XX, where souls are depicted in states of eternal torment and reversed orientation.^[78]^[23] The play also touches upon psychological theories, referencing a lecture on a patient who "had never really been born," a concept linked to Carl Jung's work.^[27]

Thematic Analysis

Genre and Structure

All That Fall is a complex work that defies simple categorization. It has been described as a tragicalomedy, a murder mystery, a riddle, and a quasi-musical score. Its structure mirrors musical forms, particularly sonata form, with an exposition (Maddy's outward journey), development (the station wait), and recapitulation (the return journey). This musicality is achieved through the deliberate use of sound effects and the recurring motif of Schubert's "Death and the Maiden."^[51]

Themes of Death and Existence

The play is saturated with themes of mortality, decay, and the struggle for meaning in a seemingly indifferent universe. The title itself, derived from Psalm 145:14 ("The Lord upholdeth all that fall and raiseth up all those that be bowed down"), offers a stark contrast to the characters' experiences. Maddy's constant physical pain, her childlessness, and the pervasive sense of futility underscore the play's exploration of suffering. The accidental death of the child on the railway line serves as a brutal culmination of these themes, highlighting the fragility of life and the arbitrary nature of existence.^[28]

The Power of Voice and Silence

As a radio play, All That Fall relies entirely on sound and dialogue to convey its narrative and emotional weight. Maddy's loquaciousness contrasts with Dan's laconic nature, creating a dynamic tension that reveals their relationship and individual struggles. Beckett masterfully uses sound effects—often distorted or unnatural—to externalize the characters' internal states and the play's psychological landscape. The play emphasizes the need for characters to speak to assert their existence, a recurring motif in Beckett's oeuvre.^[60]

Gender and Vulnerability

The play foregrounds female characters and their experiences of vulnerability and suffering. Maddy, despite her resilience, is physically and emotionally burdened. The "topography" of the play is depicted as hostile to its female characters, both human and animal. The recurring motif of childlessness and the potential for maternal failure (Maddy's thoughts about her lost daughter Minnie) further explore these themes. The play's structure, moving from a "feminine" exposition to a more "masculine" development, suggests a commentary on gender roles and power dynamics.^[56]

Reception and Legacy

Critical Acclaim

Upon its release, All That Fall was met with significant critical acclaim. Reviewers have lauded its intricate construction, profound thematic depth, and innovative use of the radio medium. Michael Billington, a prominent theatre critic, considers it Beckett's finest play, praising its ability to convey complex human emotions and existential quandoms through sound alone.^[87] Jane Shilling, in 2016, described it as a work of "captivating, complex humanity."^[86]

Technical Innovation

The play's groundbreaking approach to sound design, with sounds treated electronically—slowed down, fragmented, and reassembled—directly contributed to the establishment of the BBC Radiophonic Workshop. This technical innovation marked a significant advancement in the art of radio drama, demonstrating the medium's potential for psychological and artistic expression beyond mere narration.^[82]^[84]

Production History

Beckett's Resistance to Staging

Despite its success, Beckett was famously resistant to adapting All That Fall for visual media, believing it would compromise the play's integrity, which depended on the "coming out of the dark."^[88] He refused requests from prominent figures like Ingmar Bergman and Laurence Olivier to stage the play visually. He felt that any visual dimension, even a simple reading, would be destructive to its essence.^[89]

Adaptations and Interpretations

Nevertheless, adaptations have occurred, often seeking to preserve the play's sonic focus. Productions have utilized radio studio settings, blindfolded audiences, and elaborate sound effects to evoke the original experience. Notable stagings include those in New York City at the Cherry Lane Theatre, where sound effects became a spectacle in themselves,^[92] and a 2016 production by Out Of Joint Theatre Company where the audience was blindfolded. Dublin's Mouth on Fire Theatre Company presented a notable production in Tullow Church, the very place Beckett worshipped as a child.^[93]

External Resources

BBC Radio Broadcast Extract

Listen to an extract from the original BBC broadcast of All That Fall. This provides a direct auditory experience of Beckett's innovative sound design and the play's atmosphere.

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References

Samuel Beckett, Georges Craig (editor), The Letters of Samuel Beckett. Volume 3; 1957â1965, (Cambridge University Press, 2014), letter from Beckett to Christian Lugdivsen, 6 August 1957.

Letter to Nancy Cunard, 5 June 1956. Quoted in Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996),:p 428

Samuel Beckett to Barney Rosset, 23 August 1956. Quoted in Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), p 430

Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), pp 430,431

Worth, K., 'Women in Beckettâs Radio and Television Plays' in Ben-Zvi, L., (Ed.) Women in Beckett: Performance and Critical Perspectives (Urbana and Chicago: University of Illinois Press, 1992), p 236

Gussow, M., 'An Immediate Bonding With Beckett: An Actress's Memoirs' in The New York Times, 24 April 1996

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 12

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 13

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 17

A limousine is also a type of carriage corresponding with the railway carriage her husband is in.

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 20

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 19

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 23

The two boys in the railway station call to mind Tom and Jerry.

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 31

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 32

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 35

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 36

Pountney, R., Theatre of Shadows: Samuel Beckettâs Drama 1956â1976 (Gerrards Cross: Colin Smythe, 1988), p 104

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 38

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 39

David Warrilow, in Kalb, J., Beckett in Performance (London: Cambridge University Press, 1989), p 233

Samuel Beckett to Kay Boyle, 7 October 1961. Quoted in Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), p 485

Samuel Beckett to Aiden Higgins, 6 July 1956. Quoted in Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), p 428

Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), p 429

Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), p 26

Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), p 428

Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), p 24

Knowlson, J., â'Damned to Fame: The Life of Samuel Beckett'â (London: Bloomsbury, 1996), pp 428,429

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 26

Ackerley, C. J. and Gontarski, S. E., (Eds.) The Faber Companion to Samuel Beckett, (London: Faber and Faber, 2006), p 246

McDonald, R., The Cambridge Introduction to Samuel Beckett (Cambridge University Press, 2007), p 6

Is Maddyâs reference to Tyler "stealing up behind [her] like a deerstalker" a nod to Sherlock Holmes's famous hat?

Can our Laburnum tree poison our son? netdoctor.co.uk, 24 April 2006

Pountney, R., Theatre of Shadows: Samuel Beckettâs Drama 1956â1976 (Gerrards Cross: Colin Smythe, 1988), p 106

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 15

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 34

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), pp 22,23

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 25

Beckett. S., Dream of Fair to Middling Women (Dublin: The Black Cat Press, 1992), p. 45

Lawley, P., 'The Difficult Birth: An Image of Utterance in Beckett' in Davis, R. J. and Butler, L. St J., (Eds.)

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 21

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 27

Maddy uses the same adjective, 'poor', with the succession of daughter, wife, and mother when speaking with each of the men she meets on the road to the station.

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), pp 15,16

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 33

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 18

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), p 29

Beckett, S., â'Collected Shorter Plays of Samuel Beckett'â (London: Faber and Faber, 1984), pp 19,20

Beckett, S., 'Happy Days' in Grove Centenary Edition, Vol III (New York: Grove Press, 2006), p 305

Lawley, P., 'The Difficult Birth: An Image of Utterance in Beckett' in Davis, R. J. and Butler, L. St J., (Eds.)

Lyons, C. R., Samuel Beckett, MacMillan Modern Dramatists (London: MacMillan Education, 1983), p 87

Pountney, R., Theatre of Shadows: Samuel Beckettâs Drama 1956â1976 (Gerrards Cross: Colin Smythe, 1988), pp 54,55

White, H., 'Something is Taking its Course: Dramatic Exactitude and the Paradigm of Serialism in Samuel Beckett' in Bryden, M., (Ed.) Samuel Beckett and Music (Oxford: Oxford University Press, 1998), p 171

Esslin, M., Mediations. Essays on Brecht, Beckett, and the Media (Baton Rouge: Louisiana State University Press, 1980), p 122

Esslin, M., Quoted in Desmond Briscoeâs obituary in The Independent, 26 February 2007

Ackerley, C. J. and Gontarski, S. E., (Eds.) The Faber Companion to Samuel Beckett, (London: Faber and Faber, 2006), p 11

Kalb, J., HotReview.org quoted on the Kaliyuga website. [3]

A full list of references for this article are available at the All That Fall Wikipedia page

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Echoes in the Void

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Introducing 'All That Fall' ✒️

📻 A Masterpiece of Radio Drama

✍️ The Genesis of an Idea

🎙️ Premier Broadcast and Key Personnel

Synopsis: A Journey of Suffering 🚶

➡️ The Trip to the Station

⏳ At the Station

🌧️ The Return Journey

Biographical Context 👤

🏡 Echoes of Foxrock

💡 Inspirations and Puns

📚 Literary and Philosophical Underpinnings

Thematic Analysis 🤔

🎭 Genre and Structure

💀 Themes of Death and Existence

🗣️ The Power of Voice and Silence

♀️ Gender and Vulnerability

Reception and Legacy ⭐

👍 Critical Acclaim

🔊 Technical Innovation

Production History 🎬

🚫 Beckett's Resistance to Staging

🎭 Adaptations and Interpretations

External Resources 🔗

🔊 BBC Radio Broadcast Extract

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📜 Important Notice

Dive in with Flashcard Learning!

Introducing 'All That Fall'

A Masterpiece of Radio Drama

The Genesis of an Idea

Premier Broadcast and Key Personnel

Synopsis: A Journey of Suffering

The Trip to the Station

At the Station

The Return Journey

Biographical Context

Echoes of Foxrock

Inspirations and Puns

Literary and Philosophical Underpinnings

Thematic Analysis

Genre and Structure

Themes of Death and Existence

The Power of Voice and Silence

Gender and Vulnerability

Reception and Legacy

Critical Acclaim

Technical Innovation

Production History

Beckett's Resistance to Staging

Adaptations and Interpretations

External Resources

BBC Radio Broadcast Extract

Teacher's Corner

True or False?

Test Your Knowledge!

Gamer's Corner

Discover other topics to study!

References

Feedback & Support

Disclaimer

Important Notice