We were saddened to learn of the recent death of Tony Harrison, poet, playwright and our former CA Honorary President (1988). Our Partnerships Officer, Dr Lottie Parkyn, shares her memories of Tony here.

Tony Harrison’s work, especially his radical use of Ancient Greek theatre, has spoken to me in ways I still struggle to fully articulate, however, from early in my academic life, even before I realised it, he was a constant companion.

©MurdoMacleod/TheGuardian

While studying at the University of Birmingham, the brilliant Niall Livingstone generously lent my friendship group his much-loved VHS copy of Harrison’s The Oresteia, first staged at the National Theatre in 1981. I vividly remember sitting in awe as the performance unfolded. Until that point, my experience of Greek tragedy had been shaped by Victorian translations and the refined tones of Received Pronunciation. Harrison’s The Oresteia shattered that mould.

Hearing the cast deliver his translation in unmistakable Yorkshire accents – with its striking rhythms and lyricism -was revelatory. For many, it was a groundbreaking reinterpretation – although not without its critics. I still recall the electric moment when Clytemnestra defiantly revealed the bodies of Agamemnon and Cassandra, spitting out alliterative, brutal descriptions of their murders. To me, the horror was elevated in his poetry -cutting, visceral, unforgettable. Now, I see that same sense of wonder reflected in my own students as they watch the production recording, transfixed just as I was.

I was first introduced to Tony in the late 2000s at one of Edith Hall’s excellent events at Royal Holloway, where he was serving as artist in residence. He struck me as a man of deep humility, thoughtfulness, and intelligence. But beneath that modest exterior lay a fierce and unwavering passion for democratising the classical world -bringing it to those far beyond the academy or the elite. It came as no surprise to me that he was named President of the Classical Association in 1988. He was a tireless advocate for the field and for those often excluded from it.

Tony’s 80th celebrations at the British Academy. Photograph ©NobbyClark

Nowhere, in my view, is this commitment more powerfully expressed than in his remarkable play The Trackers of Oxyrhynchus, first performed at Delphi in 1988 and later at the National Theatre. Drawing on Sophocles’ fragmented satyr play Ichneutai, Tony interrogates the very idea of ‘culture’: who defines it, who owns it, and who is allowed access. Through the figure of Apollo, who hoards the lyre, and reprimands the satyrs for using it, Tony crafts a blistering critique of cultural gatekeeping by the elite in society, especially when it comes to the Classical World. Behind the production is a deeply personal tension – between his own working-class roots and the classical education he accessed through grammar school selection.

During my research into Trackers, I had the great privilege of meeting Tony several times, and of speaking with people from all walks of life who had been deeply moved by his work. Academics, actors, broadcasters, students, politicians- even young people from Eastern Europe and as far away as Australia- spoke of how his poetry and plays resonated with their lives.

What connected all these stories was Tony’s ability to channel the voice of the working-class experience – neither romanticised nor patronised, but unflinching and profoundly human. He held a mirror up to society, forcing audiences to see what they might otherwise ignore. I think especially of that final scene in the Trackers, where he incorporated images of the homeless living on the Southbank – individuals the audience had likely walked past on their way into the National Theatre, only to have them reappear, unignorable, within the ‘sacred space of high art’.

There is no doubt that Tony Harrison’s legacy will continue to inspire generations of poets, playwrights, and theatre-makers. But more than that, I hope his unwavering commitment to making classical education accessible and to giving voice to those so often excluded continues to grow and take root. It is perhaps the most powerful tribute we can offer: to carry forward his belief that culture belongs to everyone.

©LottieParkyn