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Christine Longford, Countess of Longford (née Trew; born 6 September 1900 [1] in Somerset, died 14 May 1980, Dublin, Ireland [2]) was a playwright. Following her parents' separation her mother took in lodgers while Christine attended Oxford Wells High School. She won a scholarship to study Classics at Somerville College, Oxford.
- Plays, books on theatre
- Mount Jerome Cemetery, Dublin
4 de nov. de 2020 · Chapter. Open Access. First Online: 04 November 2020. 1552 Accesses. 1 Citations. Abstract. Regrettably, Christine Longford is at present remembered mostly for her marriage to Lord Edward and her administrative work at the Gate Theatre. However, she was also a successful and prolific playwright.
- Erin Grogan
- 2021
Pakenham, Christine Patti (‘Christine Longford’) (née Trew) (1900–80), countess of Longford, novelist, and playwright, was born 6 September 1900 at Cheddar, Somerset, England, only child of Richard Trew, a naval officer who drowned at sea during the first world war, and Amy Trew (d. 1944).
RA Collection: People and Organisations. Christine Longford, Countess of Longford (née Trew; born in 1900 in Somerset, died 14 May 1980, Dublin, Ireland) was a playwright. She attended Oxford Wells High School and won a scholarship to study Classics at Somerville College, Oxford.
Christine Longford (1900-1980) Edward Longford (1902-1961) Reggie Chamberlain-King T he Longfords Edward and Christine were an aristocratic couple whose education in the Classics, literature, and Irish history and, more pertinently, their money, made them crucial, visible amateurs in Irish theatre in the second quarter of the twentieth century.
Christine Pakenham (nee Trew), Countess of Longford, was born in Somerset, England, in 1900. She studied classics at Oxford where she met Edward Pakenham, the elder son of the Earl of Longford, whom she married in 1925. The Longfords worked with Edwards-Mac Liammoir at the Gate Theatre from 1931-1936, then following a disagreement founded ...
20 de nov. de 2023 · Read this article. In the context of intersectional gender economies, collaborative genealogies, and hierarchies of (in)visibility in theatre making, this inquiry turns to Christine Longford's little-known play-version The Furies (1933) to explore how gender exclusions, class privileges, and uneven dynamics of spousal joint ...
