ABSTRACT
Arnold Wesker’s career, spanning more than a third of a century, is a study in contrasts. It is marked by adulation and critical success, dogged by disappointment and even worse, public rejection. Since the late 1960s, critics have worried about his fate and his legacy, and most admit to a combination of grudging praise amid continuing irritation. The long winding down after the heady years of the 1960s finds him as contentious as ever in the 1990s, determined still to give as good as he gets in the continuing evaluation of his place in post-war British theatre.
