Gordon Dickerson - Revision history

Satj at 15:51, 13 September 2018

2018-09-13T15:51:05Z

Satj: /* Contribution to SA theatre, film, media and/or performance */

2018-09-13T15:50:15Z

Contribution to SA theatre, film, media and/or performance

Satj: /* Contribution to SA theatre, film, media and/or performance */

2018-09-13T15:48:52Z

Contribution to SA theatre, film, media and/or performance

Satj: /* Contribution to SA theatre, film, media and/or performance */

2018-09-13T06:17:26Z

Contribution to SA theatre, film, media and/or performance

Satj at 03:37, 13 September 2018

2018-09-13T03:37:56Z

Satj at 03:29, 13 September 2018

2018-09-13T03:29:30Z

Satj at 03:25, 13 September 2018

2018-09-13T03:25:59Z

Satj at 03:23, 13 September 2018

2018-09-13T03:23:55Z

Satj: /* Biography */

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Biography

Satj at 03:18, 13 September 2018

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 == Sources ==
-Personal submission by [[Gordon Dickerson]] (6 September, 2018)
+Personal submissions by [[Gordon Dickerson]] (6 & 13 September, 2018)
 https://groups.google.com/forum/#!topic/alt.obituaries/oJ771DuoIHo
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 Return to [[Main Page]]

← Older revision		Revision as of 15:50, 13 September 2018
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	Besides acting as the international agent for [[Reza de Wet]], he also represents several playwrights who have had plays performed in South Africa, inter alia by the various [[Performing Arts Councils]] and the [[Pieter Toerien]] organization.		Besides acting as the international agent for [[Reza de Wet]], he also represents several playwrights who have had plays performed in South Africa, inter alia by the various [[Performing Arts Councils]] and the [[Pieter Toerien]] organization.
		+
		+	In 2018 he concluded a contract with the South African film maker [[Eubulus Timothy]] for him to make a contemporary film of ''[[Look Back in Anger]]'' by John Osborne, set in Durban.

	== Sources ==		== Sources ==

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 ==Contribution to SA theatre, film, media and/or performance==
-Dickerson was introduced to the works of [[Reza de Wet]] by actor [[Steven Stead]], who not only admired De Wet's work, but went ahead to translate two of them. Dickerson set about selling these plays and having came to South Africa to meet the author and ended up  becoming the international agent for all her work.
+Dickerson was introduced to the works of [[Reza de Wet]] by actor [[Steven Stead]], who not only admired De Wet's work, but went ahead to translate two of them. Dickerson set about selling these plays and came to South Africa to meet the author and ended up  becoming the international agent for all her work.
 Besides acting as the international agent for [[Reza de Wet]], he also represents several playwrights who have had plays performed in South Africa, inter alia by the various [[Performing Arts Councils]] and the [[Pieter Toerien]] organization.

@@ Line 15: / Line 15: @@
 ==Contribution to SA theatre, film, media and/or performance==
-Besides acting as the international agent for the South African playwright [[Reza de Wet]], he represents several playwrights who have had plays performed in South Africa, inter alia by the various [[Performing Arts Councils]] and the [[Pieter Toerien]] organization.
+Dickerson was introduced to the works of [[Reza de Wet]] by actor [[Steven Stead]], who not only admired De Wet's work, but went ahead to translate two of them. Dickerson set about selling these plays and having came to South Africa to meet the author and ended up  becoming the international agent for all her work.
 == Sources ==

@@ Line 11: / Line 11: @@
 It was here he met the literary agent Kenneth Ewing, who would become his life partner. They were together for 27 years.
-A few years later the agency merged with another and  the newly combined organisation PFD moved to new offices in Chelsea Harbour. By the early nineteen nineties he felt in need of some kind of change and decided to leave the agency, but was persuaded by a number of clients, including John Osborne, to set up on his own and to represent them.
+In 1988 the agency merged with the venerable literary agency A.D. Peters, to form Peters, Fraser and Dunlop (PFD) and moved to new offices in Chelsea Harbour. By the early nineteen nineties he felt in need of some kind of change and decided to leave the agency, but was persuaded by a number of clients, including John Osborne, to set up on his own and to represent them. He did so in 1994 and has operated as an independent literary agent, since then.
 ==Contribution to SA theatre, film, media and/or performance==

@@ Line 3: / Line 3: @@
 == Biography ==
-Born in in Kingston, London, and at the age of 3 months he and his mother joined his father in Libya, where he was working as an air traffic controller. His brother and sister were born in Libya and they then moved to Cyprus and later to Aden. Whilst living in Aden, he started school in Sussex, England  at the age of 8, and would re-join the family in Aden and then Kenya during the school holidays. The family returned to the UK and they lived in Northampton where he went to the local comprehensive school. When  they moved to Brighton Gordon attended Varndean Grammar School and, at the age of 18, he went to Southampton University where he gained a BA (Hons) in Modern History and Politics. Whilst at Southampton he directed a production of Anton Chekhov’s ''[[The Seagull]]'' and appeared in several plays including Tom Stoppard's ''[[Rosencrantz and Guildernstern  Are Dead]]''.  little knowing that a few years later I would be promoting that very play and all Stoppard’s other works when I joined his agent Kenneth Ewing at Fraser & Dunlop Scripts Limited!
+Born in in Kingston, London, and at the age of 3 months he and his mother joined his father in Libya, where he was working as an air traffic controller. His brother and sister were born in Libya and they then moved to Cyprus and later to Aden. Whilst living in Aden, he started school in Sussex, England  at the age of 8, and would re-join the family in Aden and then Kenya during the school holidays. The family returned to the UK and they lived in Northampton where he went to the local comprehensive school. When  they moved to Brighton Gordon attended Varndean Grammar School and, at the age of 18, he went to Southampton University where he gained a BA (Hons) in Modern History and Politics. Whilst at Southampton he directed a production of Anton Chekhov’s ''[[The Seagull]]'' and appeared in several plays including Tom Stoppard's ''[[Rosencrantz and Guildenstern  are Dead]]''.
 On graduating began to work in various capacities front of house at The Theatre Royal, Brighton. After 7 months he landed a job as the assistant to the theatre producer at The Robert Stigwood Organisation in Brook Street, London, where he worked on shows such as ''[[Jesus Christ Superstar]]'' at the Palace Theatre,  ''[[Evita]]'' at the Prince Edward Theatre, the London premiere of Steven Sondheim’s ''[[Sweeney Todd]]'' at Drury Lane and a very short lived show from Australia at the Phoenix Theatre.
@@ Line 18: / Line 13: @@
 A few years later the agency merged with another and  the newly combined organisation PFD moved to new offices in Chelsea Harbour. By the early nineteen nineties he felt in need of some kind of change and decided to leave the agency, but was persuaded by a number of clients, including John Osborne, to set up on his own and to represent them.
-He did so in 1994 and has operated as an independent literary agent, since then. occasionally acquiring new clients, but always trying to ensure that he had only as many writers and plays as he could cope with as a one man operation.  He observes that as retirement beckons the work of placing new plays by unknown authors has become much more difficult in the UK. For example, although there is still a great demand for well written small cast comedies  in Europe, there is little outlet for these in the UK - certainly not enough to generate an ongoing income for writers. There are opportunities for writers in other areas such as film and television, of course, but it has become very difficult for most writers to be able to sustain a career from their writing. In addition, the world has moved on so much in the last few years that even terrific plays written in the seventies and eighties let alone those from the fifties and sixties bear little resemblance to the lives we all now lead.
+He did so in 1994 and has operated as an independent literary agent, since then.
 ==Contribution to SA theatre, film, media and/or performance==
+Besides acting as the international agent for the South African playwright [[Reza de Wet]], he represents several playwrights who have had plays performed in South Africa, inter alia by the  produced by ''[[Performing Arts Councils]]'' and the [[Pieter Toerien]] organization.
 == Sources ==

@@ Line 1: / Line 1: @@
-[[Gordon Dickerson]] (19**-) is a London based theatrical agent.
+[[Gordon Dickerson]] (19**-) is a London based literary and theatrical agent.
 == Biography ==
-Born in in Kingston, London, and at the age of 3 months he and his mother joined his father in Libya, where he was working as an air traffic controller. His brother and sister were born in Libya and they then moved to Cyprus and later to Aden. Whilst living in Aden, he started school in Sussex, England  at the age of 8, and would re-join the family in Aden and then Kenya during the school holidays. The family returned to the UK and they lived in Northampton where he went to the local comprehensive school. When  they moved to Brighton I attended Varndean Grammar School. At the age of 18 I went to Southampton University where I gained a BA (Hons) in Modern History and Politics. Whilst at Southampton I direted a production of Anton Chekhov’s The Seagull and appeared in several plays including ROSENCRANTZ AND GUILDERNSTERN ARE DEAD little knowing that a few years later I would be promoting that very play and all Stoppard’s other works when I joined his agent Kenneth Ewing at Fraser & Dunlop Scripts Limited!
+Born in in Kingston, London, and at the age of 3 months he and his mother joined his father in Libya, where he was working as an air traffic controller. His brother and sister were born in Libya and they then moved to Cyprus and later to Aden. Whilst living in Aden, he started school in Sussex, England  at the age of 8, and would re-join the family in Aden and then Kenya during the school holidays. The family returned to the UK and they lived in Northampton where he went to the local comprehensive school. When  they moved to Brighton Gordon attended Varndean Grammar School and, at the age of 18, he went to Southampton University where he gained a BA (Hons) in Modern History and Politics. Whilst at Southampton he directed a production of Anton Chekhov’s ''[[The Seagull]]'' and appeared in several plays including Tom Stoppard's ''[[Rosencrantz and Guildernstern  are Dead]]''.  little knowing that a few years later I would be promoting that very play and all Stoppard’s other works when I joined his agent Kenneth Ewing at Fraser & Dunlop Scripts Limited!
 Reveal the date of my birth!!!! You are welcome to include the information about Kenneth.
@@ Line 10: / Line 10: @@
-he studied Modern History and Politics at Southampton University and on graduating began to work in various capacities front of house at The Theatre Royal, Brighton. After 7 months he landed a job as the assistant to the Theatre Producer at The Robert Stigwood Organisation in Brook Street, London, where he worked on shows such as ''[[Jesus Christ Superstar]]'' at the Palace Theatre,  ''[[Evita]]'' at the Prince Edward Theatre, the London premiere of Steven Sondheim’s ''[[Sweeney Todd]]'' at Drury Lane and a very short lived show from Australia at the Phoenix Theatre.
+As his job became more precarious, he left the company to travel to New York, hoping  to land a job there, but a few months later an opportunity arose back in London at the Literary Agency, Fraser and Dunlop Scripts Ltd in Regent Street. After a stint as temporary assistant to the managing director, he was offered a full time job as an agent with specific responsibility for promoting the agencies stage plays regionally in the UK and overseas.
-As his job became more precarious, he left the company to travel to New York, hoping  to land a job there, but a few months later an opportunity arose back in London at the Literary Agency, Fraser and Dunlop Scripts Ltd in Regent Street. After a stint as temporary assistant to the managing director he was offered a full time job as an agent with specific responsibility for promoting the agencies stage plays regionally in the UK and overseas.
+It was here he met the theatre agent Kenneth Ewing, who would become his life partner. They were together for 27 years.
-A few years later the agency merged with another and  the newly combined organisation PFD moved to new offices in Chelsea Harbour. By the early nineteen nineties he felt in need of some kind of change and decided to leave the agency, but was persuaded by a number of clients including John Osborne to set up on his own and to represent them.
+A few years later the agency merged with another and  the newly combined organisation PFD moved to new offices in Chelsea Harbour. By the early nineteen nineties he felt in need of some kind of change and decided to leave the agency, but was persuaded by a number of clients, including John Osborne, to set up on his own and to represent them.
-This is what occurred and since 1994 he has operated as an independent literary agent, occasionally acquiring new clients, but always trying to ensure that he had only as many writers and plays as he could cope with as a one man operation.  He observes that as retirement beckons the work of placing new plays by unknown authors has become much more difficult in the UK. For example, although there is still a great demand for well written small cast comedies  in Europe, there is little outlet for these in the UK - certainly not enough to generate an ongoing income for writers. There are opportunities for writers in other areas such as film and television, of course, but it has become very difficult for most writers to be able to sustain a career from their writing. In addition, the world has moved on so much in the last few years that even terrific plays written in the seventies and eighties let alone those from the fifties and sixties bear little resemblance to the lives we all now lead.
+He did so in 1994 and has operated as an independent literary agent, since then. occasionally acquiring new clients, but always trying to ensure that he had only as many writers and plays as he could cope with as a one man operation.  He observes that as retirement beckons the work of placing new plays by unknown authors has become much more difficult in the UK. For example, although there is still a great demand for well written small cast comedies  in Europe, there is little outlet for these in the UK - certainly not enough to generate an ongoing income for writers. There are opportunities for writers in other areas such as film and television, of course, but it has become very difficult for most writers to be able to sustain a career from their writing. In addition, the world has moved on so much in the last few years that even terrific plays written in the seventies and eighties let alone those from the fifties and sixties bear little resemblance to the lives we all now lead.