Irish Theatre in England PDF
Preview Irish Theatre in England
Irish Theatre in England Irish Theatrical Diaspora Series: 2 Irish Theatre in England Irish Theatrical Diaspora Series: 2 Edited by Richard Cave and Ben Levitas Carysfort Press A Carysfort Press Book Irish Theatre in London edited by Richard Cave and Ben Levitas Irish Theatrical Diaspora Series: 2 First published in Ireland in 2007 as a paperback original by Carysfort Press, 58 Woodfield, Scholarstown Road Dublin 16, Ireland ©2007 Copyright remains with the authors Typeset by Carysfort Press Cover design by Alan Bennis Printed and bound by eprint limited Unit 35, Coolmine Industrial Estate, Dublin 16, Ireland This book is published with the financial assistance of The Arts Council (An Chomhairle Ealaíon), Dublin, Ireland Caution: All rights reserved. No part of this book may be printed or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented including photocopying and recording, or in any information storage or retrieval system without permission in writing from the publishers. This paperback is sold subject to the conditions that it shall not, by way of trade or otherwise, be lent, resold, hired out, or otherwise circulated in any form of binding, or cover other than that in which it is published and without a similar condition, including this condition, being imposed on the subsequent purchaser. Contents Acknowledgements ix List of Illustrations x Introduction Richard Cave and Ben Levitas 1 PART ONE: RECEPTION AND CONTEXTS 1 These Islands’ Others: John Bull, the Abbey and the Royal Court Ben Levitas 15 2 ‘Stranger in the House’: Alienation and History in The Land of Heart’s Desire and Cathleen ni Houlihan 35 Michael McAteer 3 The Irish Players and the Conquest of London Peter Kuch 53 4 Folds in Dispersion: Yeatsian Remnants in London Jonathan D. H. Statham 67 5 Reclaiming Sam for Ireland: The Beckett on Film Project 79 Graham Saunders viii Irish Theatre in England 6 Understanding Loyalty: The English Response to the Work of Gary Mitchell 97 Tim Miles 7 Traditional Routes: Challenges and Re-affirmations in the Representation of the Ulster Protestant Wallace McDowell 113 PART TWO: PERFORMANCE AND PERFORMATIVITY 8 The English/Irish Ring and Its Victorian Popularity Jerry Nolan 129 9 An Irish Jig? Edris Stannus, Ninette de Valois and the English Royal Ballet Elizabeth Schafer 143 10 Not-So-Gay-Young-Things: Mary Manning’s Youth’s the Season—? as staged in 1930s London Cathy Leeney 157 11 Doublings: Problematic Identities in Thomas Kilroy’s Double Cross and The Madame MacAdam Travelling Theatre Carmen Szabó 169 12 The Transience of the Visual Image in Touring Theatre: Brian Friel’s Dancing at Lughnasa Enrica Cerquoni 183 PART THREE: A STAGING HISTORY 13 Chronological Table Of Irish Plays Produced In London 1920-2006 Peter James Harris 195 Contributors 287 Index 289 Acknowledgements The editors would wish to acknowledge the generosity and help of a number of institutions and individuals who made possible the conference on which this book is based: the staff of the National Portrait Gallery; Derek Hannon, Cultural Attaché, Irish Embassy in London; Warwick Gould and the Institute of English Studies, School of Advanced Studies, University of London; Colin Smythe; Gerald Lidstone and David Wiles, respectively Heads of the Department of Drama at Goldsmiths and of Drama and Theatre at Royal Holloway; Rachel Levitas; Maire Davies, Dean of the Faculty of Arts, Royal Holloway. Thanks are due to the Board of the National Library of Ireland for permission to cite in Michael McAteer’s essay letters from Frank Fay, Willie Fay, and Annie Horniman held in its manuscript collections; to A.P. Watt Ltd. on behalf of Michael Yeats for permission to include citations from Yeats’s plays; to Nick Hern Books for their permission to publish the image of the cover of Gary Mitchell’s Trust; to Field Day Theatre Company for their permission to publish the images from their production of Thomas Kilroy’s Double Cross; to Joe Vaněk and the Gate Theatre, Dublin, for their permission to publish the images accompanying Enrica Cerquoni’s essay. We extend grateful thanks to the contributors to this volume but also to all the delegates at the conference: their contributions and questions greatly assisted the authors in redrafting their papers for publication and the editors in achieving order and coherence in presenting their endeavours. R.C. and B.L.
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