The Darkest Corner: documenting institutional abuse and its consequences at the Abbey Theatre

Documentary theatre, as a theatrical genre, has not maintained a continuous presence in Irish theatre. The Darkest Corner series, produced in 2010 by the Abbey Theatre, Dublin, Ireland's National Theatre is, therefore, one of the first examples of Irish theatre using the genre to address political and social issues. Presenting three plays, Gerard Mannix Flynn's James X, Richard Johnson's The Evidence I Shall Give and Mary Raftery's No Escape, the series examines the widespread abuse of children in state institutions. Before analysing the documentary play commissioned by the Abbey, Raftery's No Escape, this article will begin with an exploration of documentary theatre in Ireland. It will then examine the material used for the play, the Ryan Report, published following the Commission to Inquire into Child Abuse, something of great political and social interest to contemporary Ireland and, finally, the play itself.     

Crowds,Fenianism and the Victorian Stage

This article examines two Irish rebellion-themed plays in context of the growth of Fenianism in the months preceding the Clerkenwell explosion in order to reveal the ways that popular theatre participated in a wider public discussion about what was seen as the modern phenomenon of the crowd. The melodramatic dramas Oonagh; or the Lovers of Lisnamona (Her Majesty's, 1866) and Achora Machree; or Gems of Ould Ireland (Newcastle-upon-Tyne, 1867) were produced on the eve of one of the greatest Irish–English political crises of the nineteenth century when fears of Irish crowds, and the chaos, violence and contagion they were believed to bring, reached their peak. Both plays feature dangerously ambiguous crowds that alternately form portraits of bucolic sentimentality and forcefully express Irish dissent. This powerful ambiguity mirrors conflicting visions of crowds in this period. While dominant Victorian crowd theory characterized the crowd as a source of chaos that needed to be controlled, political movements such as Irish Republicanism used the organizational form of the crowd to create political and social change.     

Contemporary Irish theatre,the new Playboy controversy,and the economic crisis

Abstract

This article examines the impact of the economic crisis on contemporary Irish theatre. More specifically, I contend that the legal controversy surrounding Bisi Adigun and Roddy Doyle’s second production of Playboy of the Western World: A New Version in 2008 provides a case study of how professional theatre productions that dramatised stories of immigrant empowerment during the Irish economic boom were profoundly inhibited by the bust that followed. Their collaborative version of the new Playboy was widely regarded as Ireland’s most successful intercultural play and a commercial success when it was first staged at the Abbey Theatre in 2007. The subsequent breakdown in their relationship and ensuing legal dispute is more symptomatic of Celtic Tiger Ireland in economic collapse, I suggest, than the content of the play itself, or most other productions mounted in the period. I argue that this dispute did not simply reflect but also reinforced the social effects of the economic crisis, through its prolonged litigation, enormous expense, and especially the missed opportunity that it represented to position the multicultural and migrant themed Playboy within the Irish theatrical mainstream. More broadly, I suggest that the economic crisis has been marked by the disappearance of immigrants from the professional Irish stage, a void which was only partially filled by community theatre productions. A case in point is Adigun and Arambe’s most recent adaptation of Jimmy Murphy’s The Kings of the Kilburn High Road in The Paddies of Parnell Street (2013), a play which I positively appraise as an example of successful “intercultural re-appropriation”.     

‘Her – she,this woman,me’: the representation of subjectivity in Tom Murphy's Alice Trilogy

In this essay, I will discuss Murphy's exploration of the (un)bearable nature of an existence characterised by loss, and by longing, in his recent play sequence Alice Trilogy (2005). Positing the explicitly dualised characterisation in the first and third of these plays as a reflection of, and natural progression from, earlier dramaturgic representations of duality, I will examine Murphy's overt rendering of subjectivity, in Alice Trilogy, focusing upon the ways in which such theatrical duality explicates the silences which pervade the Purgatorial affective no-man's-land – or ‘in-betweenness’ – of mind, body, and soul.     

Transforming research into art: the making and staging of My English Tongue,My Irish Heart,a research-based drama about the Irish in Britain

This article explores the use of research-based theatre as an alternative mode of research representation and audience engagement in the field of Irish migration studies. Although theatre-based methods of research inquiry and presentation have attracted growing academic interest in recent decades, there are few examples of research-based projects that originate in literary or historical research, and fewer still that have resulted in full-scale theatrical productions. My English Tongue, My Irish Heart is one such work, a play that purposefully seeks to expand the public reach of research outward from universities into the communities that were originally studied. The first part of the article outlines the play’s origins and development; the second explores the chief conceptual and artistic challenges that arose during its creation; and the third presents a critical evaluation of the play’s reception, drawing on audience feedback data collected during its month-long tour of Ireland and the UK in May 2015.     

James Connolly on stage: history,imagination, and interpretations

James Connolly (1868–1916) has been an underrepresented figure in Irish history, despite the fact that he was one of the signatories of the Proclamation of the Irish Republic. The controversy surrounding Connolly centres mostly on his questionable role in this radical nationalist siege, even though he had been one of the most prolific Marxist theorists of his day. Interestingly, Connolly’s political ambivalence has yielded plenty of scope for the imagination of playwrights in envisaging his final few days before he was executed by the British government. Their theatrical conjectures – backed by archival research to varying degrees – allow audiences different alternatives for learning about, interpreting, assessing, or even celebrating, the legacy of this controversial Marxist. Most importantly, they are able to look beyond the selectiveness of historians in re-creating Connolly as a material figure. The three plays under discussion are Margaretta D’Arcy and John Arden’s The Non-stop Connolly Show (1975), Larry Kirwan’s Blood (1993), and Terry Eagleton’s The White, the Gold and the Gangrene (1993).     

Two dramatic treatments of the ‘Déirdre’ legend: a case study in Irish betrayal

During the heightened cultural activity of the Celtic Revival, the moral ownership and utilisation of Ireland's literary remains became an important cultural issue. At the same time, many nineteenth- and early twentieth-century Irish writers were concerned to ‘retell’ ancient stories in ways which explored their relevance to the modern world. One of the most retold tales from the period was the story of Déirdre and the Sons of Usnach. The story of Déirdre broaches one of the most ubiquitous of human experiences – betrayal – and it does so in relation to both political and interpersonal behaviour. This essay examines two dramatic treatments from the early years of the century: W.B. Yeats's one-act Deirdre (1907) and J.M. Synge's Deirdre of the Sorrows, unfinished at the time of his death and finally published in 1910. This essay looks to account for the particular ways in which each author inflects the legend in terms of their own concerns, and in particular how both Yeats and Synge engaged with a discourse of betrayal that – although always significant in Irish cultural history – was moving to a position of centrality in Irish national life in the years leading up to the revolutionary period.     

“The Agitator’s Wife” (1894): the story behind James Connolly’s lost play?

The centenary of the Easter Rising in 2016 and the 150th anniversary of James Connolly’s birth in 2018 afford an ideal opportunity to reappraise this unique figure. Rightly renowned for his polemical journalism and political theory, Connolly is less celebrated for his creative writing. His 1916 play, Under Which Flag?, long considered lost, resurfaced fifty years ago without causing significant ripples in Irish literary circles, but interest in Connolly’s role in the struggle for Irish independence continues to grow, and critics are becoming increasingly aware of the fusion of feminist and socialist thought that shaped his particular anti-imperialist agenda. In this context his creative writing takes on new significance. A second lost play of Connolly’s, The Agitator’s Wife, has never been found, but its discovery would surely deepen our understanding of this gifted radical thinker. In this essay we suggest that an anonymous short story bearing that very title, published in a short-lived Christian socialist journal of the 1890s, may be a crucial missing piece in solving the puzzle of Connolly’s forgotten drama.     

‘Wel gelun a gud?’: Thomas Sheridan's Brave Irishman and the failure of English

Scholarship on Thomas Sheridan's popular farce The Brave Irishman has to date focused on its engagement with the figure of the ‘stage Irishman’, testing the title character's thick accent and Irish idiom against a standard English that rarely appears in the play itself. This essay considers the farce on broader terms, addressing both regional variations in the play's performance and the other idioms of the play, in order to argue that the farce overturns the devaluing of the Irish idiom and instead dramatises the shortcomings of English on terms consistent with Sheridan's large body of writing on the English language as spoken in the British Isles.     

“Did that play of mine …?”: James Connolly,Cathleen Ni Houlihan and staging revolution

Abstract

Despite the crucial position he occupies in Irish history as one of the leaders of the Easter Rising, and the political – and emotional – impact of his subsequent execution, while wounded, by the British Army on 12 May 1916, the writings of Edinburgh-born James Connolly have often been overlooked in both Irish and Scottish studies, and not just in accounts of the Rising but also in the wider context of cultural connections, including cultures of commemoration. In particular, Connolly’s surviving literary work, including Under Which Flag?, the drama staged on the eve of Easter 1916, as well as poems and songs, has had limited attention. This article reconsiders Under Which Flag? in comparison with Yeats and Gregory’s Cathleen ni Houlihan in order to demonstrate the central place the drama holds as a continuation – and complication – of Connolly’s political and journalistic writings. If Connolly is a neglected figure as a writer – as opposed to a political leader and martyr – then the play he left behind (once thought to have been lost, like another of his dramas, The Agitator’s Wife) affords us an opportunity to reassess his contribution to the struggle for independence as part of its literary wing.     

Personal lives: narrative accounts of Irish women in the diaspora

The burst of writing about Irish women in the diaspora after the 1980s, led by Mary Lennon, Marie McAdam and Joanne O'Brien's Across the Water: Irish Women's Lives in Britain, coincided with the ‘narrative turn’ in the social sciences and literary representation. This paper uses Carol Smart's concepts of Personal Life (2007) – memory, biography, embeddedness, relationality and the imaginary – to examine a range of ways in which personal narratives have become central to our understandings of Irish women and their descendants in both written and visual representations. It interweaves disciplines, bringing together a wide range of sources including academic and public accounts in which Irish women appear both as main characters and in walk-on parts. It explores constructions of these ‘fictions’ and their connections with the biographies of authors.     

Theatre,mathematics, and the aesthetics of infinity: Complicite’s A Disappearing Number

ABSTRACT

Complicite's A Disappearing Number is one of the best examples of contemporary plays that use theatrical strategies to convey complex scientific ideas. Complicite uses performance to stage the complex mathematical concepts of partition and infinite convergent series, taking inspiration from the statement by renowned British mathematician G. H. Hardy that “a mathematician... is a maker of patterns”. As well as performativity, other elements in the play contribute to performing mathematics on the stage, elements such as time and space, narrative structure, thematic content, and characterization. Complicite introduces a complex pattern that runs throughout the play to connect these elements to form a complete whole. These elements effectively work with each other to release a set of clues that guide the audience towards decoding the play's pattern. This study provides an in-depth analysis of these connections and the complex process of decoding the pattern in the play.     

Writing the History of Irish Women

Joanna Bourke, Husbandry to Housewifery: Women, Economic Change, and Housework in Ireland 1890-1914 Margaret Ward (ed.) In Their Own Voice: Women and Irish Nationalism Mary O'Dowd and Sabine Wichert (eds) Chattel, Servant or Citizen: Women's Status in Church, State and Society Joan Hoff and Moureen Coulter (eds) Irish Women's Voices Past and Present     

Bede,Irish computistica and Annus Mundi

Bede's decision to diverge from the mainstream chronological tradition, based on the Septuagint, in favour of the Vulgate for chronology has generally been explained by his concerns about contemporary apocalypticism. This essay will argue that Bede's choice of Annus Mundi was also greatly influenced by Irish computistica. These texts incorporate a chronological framework – influenced by Victorius of Aquitaine's Easter Table – that was implicitly and explicitly apocalyptic and provided a date for the Passion that Bede objected to. Bede was greatly indebted to Irish computistica but adopting the Vulgate Annus Mundi allowed him to assert his own views on chronology.     

“Celticism,ballad transmission,and the schizoid voice: Ossianic fragments in Owenson,Yeats, Joyce,and Beckett”

ABSTRACT

This essay surveys responses to Macpherson’s Ossian in Irish literature, alongside analysis of the development of literary Celticism. Despite being a key text behind the development of Celticism in Irish writing, Ossian is consciously rejected in Irish Romanticism and in the Celtic Revival. However, Ossian becomes a symbol of literary recycling and mental fragmentation in Irish Modernism. Texts studied in this essay include Owenson’s The Wild Irish Girl, Joyce’s Finnegans Wake, and Beckett’s Murphy.     

Countering the hegemony of the Irish national canon: the modernist rhetoric of Seán O'Faoláin (1938–50)1

ABSTRACT. The telling and re‐telling of national history has long been recognised in studies of nationalism as one of its key legitimising and mobilising strategies. In this article I illustrate how a rhetorical approach can effectively explore this dynamic and emotive dimension of nationalist ideology by examining the rhetorical strategies in the Irish liberal intellectual, Seán O'Faoláin's, attempts to reconstitute the popular canon of Irish history in the 1930s and 1940s. More specifically, I show that contrary to depictions of O'Faoláin as a European liberal who employed rational argument to undermine and encourage the rejection of Irish nationalism and its emphasis on rhetorical narratives of the past, O'Faoláin's challenge to the Irish national canon reveals that he himself mobilised historical narrative to promote his own modernist version of Irish liberal nationalism and demonstrated in the process that he was one of the most skilful rhetors of his day.     

Sydney owenson's wild indian girl

In 1811, Sydney Owenson (Lady Morgan) published a novel set in India, The Missionary: An Indian Tale, arguably the first Irish Orientalist text. If, as Madeline Dobie has recently argued, the discourse of Orientalism in France was used to avoid moral questions about colonialism and slavery, Owenson used the genre in order to confront the brutalities of British colonialism. Owenson's intertextuality drew on not only other works about the east, but also her own literary productions and experience of authorship as an Irish woman of undistinguished background performing for an imperial audience. As she did in The Wild Irish Girl: A National Tale, her first publishing success, in The Missionary Owenson exploits just those equivalences imperialism posits among its peripheries. This essay examines The Missionary's intervallic position between the Irish novels The Wild Irish Girl and O’Donnel, and its possible role in the oft-noted shift in Owenson's practice of textualist history.     

Avenging ‘Bridget’: Irish domestic servants and middle-class America in the short stories of Maeve Brennan

This article will examine the representation of Irish women servants in Maeve Brennan's short stories, first published in The New Yorker in the 1950s, and collected in The Rose Garden (2001). The Irish ‘Bridget’, the most publicly visible, if troubling, image of Irish womanhood in late nineteenth- and early twentieth-century America, has received much-needed attention from historians and social scientists in the last decade, and is a central figure in discussions of Irish women and diasporic identity in the American context. Drawing on this body of work, and focusing in detail on key stories from the collection, including ‘The Bride’, ‘The View from the Kitchen’, ‘The Anachronism’, ‘The Divine Fireplace’, and ‘The Servants’ Dance', I argue that Brennan's reimagining of the Irish Bridget can be approached as a form of feminist revisionism, as Brennan's stories enter into a charged dialogue with the history of imagining the Irish woman servant as an undesirable but necessary presence in middle-class American domestic culture. Brennan's self-reflexive reworking of this paradigm is informed by her work as a satirist for The New Yorker, and proves an effective means of writing back to this problematic history, as she takes up recognisable tropes and motifs from earlier representations of Bridget in popular and literary culture, and alters them in knowing and subversive ways.     

Challenging Englishness from the racial margins: William Macready's Irishman in London; Or; The Happy African

William Charles Macready's farce The Irishman in London; Or; The Happy African (1792) can be read as an exploration of Englishness in its relationship to Irishness as presented on the London stage in the period following the French Revolution. This article examines Macready's play as a critique of the common identification of Irishness with blackness that uses stock characters and attitudes to examine English identity. Through a marriage plot displaced from the traditional romantic heroes onto their Irish and black servants, we see English as a commercial identity rather than a cultural one. Linking race to culture and culture to nationality, Macready's play presents Irishness and blackness as culturally rich while calling into question the content of Englishness.     

From golden hills to sycamore trees: pastoral homelands and ethnic identity in Irish immigrant fiction, 1860–75

The prose fiction that remembers the trials of starvation and eviction of the Great Famine (1845–50) often juxtaposes representations of blasted, infertile land with images of a green, idyllic Erin. Through a discussion of Mary Anne Sadlier's Bessy Conway (1861), Elizabeth Hely Walshe's Golden Hills: A Tale of the Irish Famine (1865) and John McElgun's Annie Reilly (1873), this article reveals that immigrant writers of the Famine generation often negotiate depictions of Famine-stricken wasteland with evocations of a pastoral homeland. In the case of the two Catholic novels, Bessy Conway and Annie Reilly, the pastoral becomes a point of ethnic identification through which the immigrants can recollect and reconstruct a sense of Irishness in exile. By contrast, Golden Hills, which focuses on the Anglo-Irish ascendancy, does not lament the mass exodus of afflicted Irish: the novel rather envisions emigration as a way to regenerate Ireland as locus amoenus.