From the 80s onwards he has also directed his own work both in theatre and on film. His most recent production is the television film Food for Ravens which he both wrote and directed. He is known both for his original works – contemporary and historical – and for his adaptations of works by writers such as Lawrence and Chekhov.

Martyn Walsh, prosecuting at Liverpool Crown Court, explained the messages took place between January 10 and January 17, 2019 on platform Chatiw.

Pryce, now paired with Milo O’Shea as Waters, won a Tony as best featured actor. Portraying Gethin eight times a week was just as “emotionally draining” as his later performances as Hamlet (for Eyre, at the Royal Court in 1980) and King Lear (at the Almeida in 2012). Griffiths argued that Comedians might have been partly instrumental in the rise in the 1980s of alternative comedy Through the Night was inspired by his first wife, Janice. "Around 1961, Jan wanted to start a family. We couldn't. It emerged that she had TB of the womb, so she had to have it removed."

Griffiths' reputation at the time was such that Warren Beatty asked him to write a screenplay for a project about the US revolutionary John Reed, which eventually became the Oscar-winning film Reds (1981), but Griffiths departed from the project before the script was completed and estimates that he had written only 45% of the script for the finished film. [2]

Caughie, J., Griffiths, T. and Vélez-Serna, M. (2018) Early Cinema in Scotland. Edinburgh: Edinburgh University PressDOI: https://doi.org/10.3366/edinburgh/9781474420341.001.0001 The 61-year-old began talking to to 'Mark' online in 2019 but didn't realise it was actually an undercover police officer posing as a 14-year-old boy, reports the Liverpool Echo. To some, who best remember his early political plays such as The Party, produced by the National Theatre in 1973 (starring Laurence Olivier in his last stage role, as John Tagg, a Glaswegian Communist), Griffiths exists as some curious spectre from the early 1970s. In their minds, he's an unreformed Marxist likely to use the word "dialectic" more often than the rest of us employ the definite article.

Two days later Mr Walsh explained the conversation about flights continued with Griffiths stating what flight his time is due to leave.Trevor Griffiths, of Ajax Avenue in Orford, Warrington, wanted to take a child for a McDonald's and to the cinema and later planned on sexually abusing him in a hotel in Belfast. The play soon brought him to the attention of Kenneth Tynan, the literary manager of the National Theatre Company who promptly commissioned Griffiths to write the play that became The Party. [1] This critique of the British revolutionary left featured the National's artistic director Laurence Olivier in his last stage role as the Glaswegian Trotskyist John Tagg. [2] Griffiths had by now begun to write television plays, such as "All Good Men" ( Play for Today, BBC, 31 January 1974) and "Through the Night" (2 December 1975). [5] [6] Influenced by the experience of his wife, the latter is concerned with a woman's treatment for breast cancer. [6] In between these two plays came "Absolute Beginners" (BBC, 19 April 1974), in the series Fall of Eagles, which presents a version of events in 1903 involving Lenin and Trotsky. [7] He developed a series about parliamentary democracy, Bill Brand, which was first shown by ITV in the summer of 1976. [8] a b Michael Patterson, Strategies of Political Theatre: Postwar British Playwrights, Cambridge: Cambridge University Press, 2003, p. 69. Among the visitors to his hotel room is Antonio Gramsci, the Sardinian editor of a workers’ paper advocating factory soviets on the shop floor. In the conflict between these two men lies the meat of the play’s drama, and it is difficult to do justice to Griffiths’ ability to explore contrasting attitudes to revolution. In brutally simplistic terms, you could say that Kabak is the pragmatist and Gramsci the idealist. There is a great scene where Kabak urges Gramsci to incite an insurrection and speaks of the workers as if they were a military machine. Gramsci, aware of the danger of factory occupation without wholesale support, argues against a mechanistic view of the masses and asks, “How can a man love a collectivity when he has not profoundly loved single human creatures?” She explained Griffiths is keen to engage with the probation service adding it is 'certainly a fall from grace for a 61-year-old man with no previous convictions'.