all of his characters. In Bedroom Farce (1975), for example, he admitted to being, in some respects, all four of the men in the play. It has been suggested that, after Ayckbourn himself, the person who is used most often in his plays is his mother, particularly as Susan in Woman in Mind (1985). What is less clear is the extent to which events in Ayckbourn's life have influenced his writing. It is true that the theme of marriages in difficulty was heavily present throughout his plays in the early seventies, at about the time his own marriage was coming to an end. However, by that time, he had also witnessed the failure of his parents' relationships and those of some of his friends. Which relationships, if any, he drew on for his plays, is unclear. In Paul Allen's biography, Ayckbourn is briefly compared with Dafydd and Guy in A Chorus of Disapproval (1984). Both characters feel themselves to be in trouble and there was speculation that Ayckbourn himself might have felt the same way. At the time, he had reportedly become seriously involved with another actress, which threatened his relationship with Stoney. It is unclear whether this had any effect on the writing; Paul Allen's view is that Ayckbourn did not use his personal experiences to write his plays. It is possible that Ayckbourn wrote plays with himself and his own situation in mind but, as Ayckbourn is portrayed as a guarded and private man, it is hard to imagine him exposing his own life in his plays to any great degree. In the biography, Paul Allen writes, with regard to a suggestion in Cosmopolitan that Ayckbourn’s plays were becoming autobiographical: "If we take that to mean that his plays tell his own life story, he still hasn't started." Career Early career and acting On leaving school, Ayckbourn’s theatrical career began immediately, when his French master introduced him to Sir Donald Wolfit. Ayckbourn joined Wolfit on tour to the Edinburgh Festival Fringe as an acting assistant stage manager (a role that involved both acting and stage management) for three weeks. His first experiences on the professional stage were various roles in The Strong are Lonely by Fritz Hochwälder. In the following year, Ayckbourn appeared in six other plays at the Connaught Theatre, Worthing and the Thorndike theatre, Leatherhead. In 1957, Ayckbourn was employed by the director Stephen Joseph at