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Encyclopedia > Perfect Strangers (drama)

Perfect Strangers is a British television drama first aired in 2001, produced by Talkback Thames for the BBC Two network. It was written and directed by Stephen Poliakoff, and starred Michael Gambon, Lindsay Duncan, and Matthew MacFadyen. 2001 is a common year starting on Monday of the Gregorian calendar. ... BBC Two (or BBC2 as it was formerly styled) was the second UK television station to be aired by the BBC. History The channel was scheduled to begin at 7:20pm on April 20, 1964 and show an evening of light entertainment, starting with the comedy show The Alberts and... Stephen Poliakoff (born December 1, 1952) is an acclaimed British playwright, screenwriter and director. ... Sir Michael Gambon (born October 19, 1940) is one of Britains foremost actors, knighted for his services to the theatre. ... Matthew MacFadyen (born 1974) is a British actor, best known for his role as MI5 agent Tom Quinn in the BBC television drama series Spooks. ...

The action took place during a family reunion.

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  Results from FactBites:
Perfect Strangers - Wikipedia, the free encyclopedia (139 words)
Perfect Strangers (documentary), a dramatised account of a court case concerning a proposed abortion.
Perfect Strangers (BBC TV series), a (2001) British television drama.
Perfect Strangers (album), a 1984 album and also its title song, by Deep Purple.
From British Drama 1890 to 1950 (10709 words)
To the extent that this drama still embodied religious ideas, Dionysius, in the guise of however many Greek kings and heroes, never died in the tragedies or suffered a fall but he rose again in the comedies, for he was the personification of ever-renewing primal energy.
The point of Shaw’s criticism was that drama and theater should abandon their trivial pursuit of escapist pleasure and take up once again the seriousness and fundamentally religious purpose of the ancient Greek theater, thereby becoming worthy of playing a central role in the cultural development of a world civilization.
Jones’s dramas were full of dimly perceived truths that in the works of Shaw would burst forth in a much clearer light, partly because Shaw would be freer of those ghosts of convention that in Jones’s case too often turned a promising playwright into an automaton writing as convention dictated.
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