The Worst It Can Be is a Disaster is the autobiography of Braham Murray, founding director of the Royal Exchange Manchester which in 2006 celebrated its thirtieth anniversary. With a foreword by Sir Tom Courtenay.
Born into a Jewish family, Braham Murray struggled against his parents' expectations that he should follow them into the world of commerce; instead he became at twenty-two the youngest artistic director in the country when he took over Century Theatre, a theatre company based in Manchester.
Detailing his relationships and the theatrical successes and flops along the way, the narrative takes us through his early years with Century Theatre, with the 69 Theatre Company, and the birth of the Royal Exchange Manchester in the heart of Manchester in 1976. Twenty years later, the theatre rose from the ashes of the IRA bomb brilliantly opening a new production on time just ten days after the bomb had destroyed the city centre.
The role and influence of the author's Jewish heritage and of his key collaborators - including Caspar Wrede and Michael Elliott - are explored in this illuminating and inspiring account of one of English theatre's great directors.
'Braham's passion is sometimes overwhelming, sometimes annoying but completely inspirational. It's his passion that the Royal Exchange has thrived on, and this book is full of his passion for the theatre.' Robert Lindsay
Born into a Jewish family, Braham Murray struggled against his parents' expectations that he should follow them into the world of commerce; instead he became at twenty-two the youngest artistic director in the country when he took over Century Theatre, a theatre company based in Manchester.
Detailing his relationships and the theatrical successes and flops along the way, the narrative takes us through his early years with Century Theatre, with the 69 Theatre Company, and the birth of the Royal Exchange Manchester in the heart of Manchester in 1976. Twenty years later, the theatre rose from the ashes of the IRA bomb brilliantly opening a new production on time just ten days after the bomb had destroyed the city centre.
The role and influence of the author's Jewish heritage and of his key collaborators - including Caspar Wrede and Michael Elliott - are explored in this illuminating and inspiring account of one of English theatre's great directors.
'Braham's passion is sometimes overwhelming, sometimes annoying but completely inspirational. It's his passion that the Royal Exchange has thrived on, and this book is full of his passion for the theatre.' Robert Lindsay