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Mary Ann "Buzz" Goodbody (25 June 1946 – 12 April 1975) was an English theatre director. Associated with the Royal Shakespeare Company (RSC) for almost all of her short career, Goodbody is remembered for her sometimes politically charged experimental work, and for establishing the RSC's first studio theatre in Stratford, The Other Place. She was the RSC's first female director.
Goodbody was educated at Roedean School and the newly founded Sussex University.Colin Chambers "Notes: Buzz Goodbody", Marxism Today, April 1980 A member of the Communist Party of Great BritainJennifer Uglow, et al. The Macmillan Dictionary of Women's Biography, London: Macmillan Papermac, 1999, p.232. from the age of 15, according to her brother, she was very much against applying for a place at Oxford or Cambridge.Smith Howard, p.12
Acting in university student productions was frustrating for her. She once noted "All the best roles" – those she found interesting such as the lead in Henry V – "are written for blokes"; this was the catalyst that led her towards directing plays as a career.Smith Howard, p.13
While at Sussex, where the main component of her degree was English Literature, she adapted and staged Dostoyevsky's novella Notes from Underground as part of her honours thesis. This production won an award at the National Student Drama Festival, and was staged briefly at the Garrick Theatre in the West End. The Sunday Times contributor Hunter Davies recalled interviewing Goodbody in 1966. He "found her so fascinating, remarkable, outspoken, opinionated – someone who seemed to sum up the spirit of our new universities, if not the 1960s – that he decided to put her in a never-completed book". In September 1967, she married Edward Buscombe, a University of Sussex film student; the marriage ended in divorce in 1971.
She became involved in Theatregoround, a project to develop smaller-scale productions of Shakespeare,Colin Chambers Inside the Royal Shakespeare Company: Creativity and the Institution, Abingdon: Routledge, 2004, p.67 which included her productions in Stratford of King John, which was also seen at the Roundhouse in London, and the Elizabethan play Arden of Faversham, now attributed in part to Shakespeare, in 1970. According to Colin Chambers the production of the rarely performed King John was "much maligned but hugely entertaining". Peter Brook thought the production had "vigour" and was "full of life, energetic, disrespectful".Elizabeth Schafer Ms-Directing Shakespeare: Women Direct Shakespeare, New York: St Martin's Press, 2000, p.234 (originally published by The Women's Press, London in 1998) She was the first female director to work for the RSC.Sheila Rowbotham A Century of Women, p.408. She was only the third woman to direct at the old Memorial Theatre in Stratford. Before the foundation of the RSC in 1960, the first had been Dorothy Green (1939) followed by Irene Hentschel (1946), see Chambers, p. 67
A feminist involved in the Women's Movement, Goodbody was a founding member of the Women's Street Theatre Group in 1970, along with another theatre director, Lily Susan Todd. Michèle Roberts, later a novelist, was also involved. The group was committed to "telling people who don’t know’" about the movement's agenda performing in locations like markets and shopping malls.Smith Howard, p. 17 Goodbody and others from the group were arrested in London during the Festival of Light in 1971. Their counter demonstration featured a Tableau vivant in which were displayed placards saying "Fuck the F*mily". Goodbody was fined. (Originally published by Century Random House, London)
Goodbody directed Trevor Griffiths' Occupations in 1971 at The Place, a venue off the Euston Road in London then being used by the RSC. Goodbody though was accused by some on the Left of "romantic idolisation" of the Italian Communist Antonio Gramsci (played by Ben Kingsley), a central character in the work.Smith Howard, p.20
In November 1971, her production of a documentary play, The Oz Trial, was first performed. It was derived by David Illingworth from the transcripts of the more than six-month-long obscenity trial of the three editors of Oz magazine. In staging the play, it was claimed by commentators that the RSC had gone beyond what a publicly funded body should do. Goodbody, described by one pundit as "a young and militant lady director", firmly believed that the RSC should be involved in responding to current events.Smith Howard, p.21
Her 1973 modern dress production of As You Like It was criticised at the time for seeming to be without any distinction between the court and the countryside. She observed of the play: "Hardly anyone seems to do any work: the shepherds and shepherdesses ... are not really country people. I see them as art college students — drop-outs who live in the country and have mummies and daddies in town with large incomes".Interview for the Birmingham Post, 9 June 1973, quoted in Penny Gay As She Likes It: Shakespeare's Unruly Women, London: Routledge, 1994, p.65 It was a feminist interpretation, with Eileen Atkins in the lead as Rosalind, and Richard Pasco as Jacques. It was a popular production with audiences.Gay, p.66Michael Billington Obituary: Richard Pasco, The Guardian, 20 October 2014
The Other Place was put forth as an alternative and more experimental venue than the larger Royal Shakespeare Theatre. There, Goodbody staged King Lear (1974) and Hamlet (1975). Of the latter, The Times theatre critic Irving Wardle wrote: "an astounding revelation of the most excavated play in the world, ranking with Peter Brook's A Midsummer Night's Dream as the key classical production of the decade". Of the actors in her production, the reviewer Peter Thomson was of the opinion that, "they meant what they said" and Goodbody had "coaxed the play into their hands and they respected it".Peter Thomson "Towards a Poor Shakespeare: The Royal Shakespeare Company at Stratford in 1975" in Kenneth Muir (ed) Shakespeare Survey Volume 29, Cambridge: Cambridge University Press, 1976, p.151-6, 153 Her production of King Lear ran in New York to a positive reviews.
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