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Birth and Parents Aninfancy in print The War and Post-War Years Peripatetic and prep-school days 1947 - 53 37 St Paul's School 1953 - 6 Cambridge The Late Fifties Marriage and UCH; qualified medic and collagist The Start of the Sixties Beyond the Fringe; The Establishment; the Royal Court Theatre 1962 - 4 New York The Mid-Sixties Back in the UK and shaking up the BBC, from Monitor to Alice in Wonderland Contents Late Sixties to Early Seventies NW 1; extended families; back to the theatre (Nottingham Playhouse, the Oxford and Cambridge Shakespeare Company, the Mermaid and Olivier's National Theatre) Early to Mid-Seventies Returning to medical matters in academia; Peter Hall's NT; Private Eye; Greenwich Theatre and a West End Chekhov Mid-Seventies Onwards Operatic beginnings and The Body in Question On into the Eighties The ENO and the BBC Shakespeare Series; science in Sussex; Ivan and Prisoner of Consciousness Mid-Eighties Going international; Subsequent Performances; finito at the ENO (for now) Nearing the Nineties Long Day's Journey; the RSC; a return to the Royal Court; running the Old Vic The Nineties Damning England; round the world and back again; ENO II and the ROH; Broomhill, the Almeida and Dublin's Gate Theatre Into the New Millennium The ongoing international roundabout; art and curating; a knighthood; a BBC comeback and home Notes Jonathan Miller: Selective Chronology Bibliography Index of Names
Kate Bassett is the theatre critic for the Independent on Sunday and has previously worked in that capacity for both the Times and the Daily Telegraph. She has also written features and reviews on film, literature, dance and comedy for the Guardian, Time Out, City Limits, TLS and the New Statesman.
"A remarkable portrait of a complex and Coleridgean figure, a man in two minds about himself for most of his life' The Telegraph 'Scrupulously researched, always fascinating - As Bassett says in her admirably measured book, there's 'bile and bitterness' here. As she demonstrates, there's also genius' The Times 'Compelling. a dense, exhaustively well-researched portrait... a persuasive, ultimately rather sad portrait of a North London Jewish boy' Sunday Times 'Bassett is herself a fine, fierce theatre critic - her write-ups of Miller's productions have verve and perceptive grace - thorough - entertaining' Guardian 'An admirably thorough job of a biography: sympathetic, deeply researched, informed by long conversations with Miller and dozens of friends, colleagues and, occasionally, enemies.' The Spectator 'Kate Bassett's fascinating book draws together the many strands that combine to make this renaissance man.' Jewish Chronicle 'Sir Jonathan Miller is a remarkable man. As one of the great egocentrics of his generation, he would not question this judgment... Ms Bassett's first-class biography does not mask Sir Jonathan's weaknesses, but she says that, "in conversation, his flaws seem more tragicomic than intolerable - the bile and bitterness never quite obliterate the man's warmth."' The Economist 'Absorbing, in-depth and erudite - Bassett, who clearly likes and respects her subject but isn't overawed by him, sensibly marshals the arguments on both sides and leaves it up to the reader how posterity will regard Miller.' Observer 'Miller's bravura is exemplary and life-enhancing, so it is sad to learn from Kate Bassett's magnificent biography (brilliantly researched - even the extensive endnotes are a joy) that the man himself somehow feels hard-done-by, unappreciated and under-rewarded.' Financial Times 'Bassett's beautifully balanced account - describes how caring [Miller] can be to friends, and how he can enthuse them with his dazzling cross-disciplinary ideas. His secret of survival? For every bridge he burns, he's somehow able to build another. He's inexhaustible, and unceasingly curious. Bassett treats her subject with respect, and, thankfully, without kid gloves - fascinating' Bloomberg 'There is no more extraordinary figure in British public life than Jonathan Miller - His achievement is undeniable, as In Two Minds makes clear, and though his workaholic days are behind him, he reveals no signs of retirement.' Wall Street Journal"