Peter Terson, like Arnold Wesker, John Osborne, Harold Pinter, and others, is a playwright who has emerged from Britain's fertile working class. But unlike some works of these playwrights, his own plays continue to reflect and draw sustenance from this heritage. Through their language and characters, his dramas depict man's isolation from the land and from his work. And whether the picture be of Mooney, a hapless factory worker trying to make a go of it in the country; or of Church, an office worker with plastic gnomes in his front yard, who is drawn to the mystical call of a country reservoir; or of the young tough Bagley, an apprentice whose vitality is sapped by the demeaning rigors and rituals of his work, Terson imbues his characters with a kind of colloquial relevance (and oftentimes delightful eccentricity) that never loses touch with the sources of work and...