Seán O'Casey
Seán O'Casey | |
---|---|
Born | John Casey 30 March 1880 Dublin, County Dublin, Ireland |
Died | 18 September 1964 Torquay, Devon, England | (aged 84)
Pen name | Seán Ó Cathasaigh |
Occupation | Dramatist |
Language | English |
Spouse | |
Children | Breon O'Casey, Niall, Shivaun |
Signature | |
Seán O'Casey (Irish: Seán Ó Cathasaigh [ˈʃaːn̪ˠ oː ˈkahəsˠiː]; born John Casey; 30 March 1880 – 18 September 1964) was an Irish dramatist and memoirist. A committed socialist, he was the first Irish playwright of note to write about the Dublin working classes.
Early life
O'Casey was born at 85 Upper
O'Casey's father died when Seán was just six years of age, leaving a family of thirteen.[3] The family lived a peripatetic life thereafter, moving from house to house around north Dublin. As a child, he suffered from poor eyesight, which interfered somewhat with his early education, but O'Casey taught himself to read and write by the age of thirteen.
He left school at fourteen and worked at a variety of jobs, including a nine-year period as a railwayman on the GNR. O'Casey worked in Eason's for a short while, in the newspaper distribution business, but was sacked for not taking off his cap when collecting his wage packet.[5]
From the early 1890s, O'Casey and his elder brother, Archie, put on performances of plays by Dion Boucicault and William Shakespeare in the family home. He also got a small part in Boucicault's The Shaughraun in the Mechanics' Theatre, which stood on the site of what was to be the Abbey Theatre.
Politics
As his interest in the
In March 1914, he became General Secretary of Larkin's Irish Citizen Army, which would soon be run by James Connolly. On 24 July 1914 he resigned from the ICA, after his proposal to ban dual membership in both the ICA and the Irish Volunteers was rejected.
One of his first satirical ballads, "The Grand Oul' Dame Britannia", was published in The Workers' Republic on 15 January 1916 under his penname An Gall Fada.[7]
"Ah, what is all the fuss about?", says the grand old dame Britannia,
"Is it us you are trying to live without?", Says the grand old dame Britannia.
"Shut your ears to theGaelfor England dies,"
"And you'll have Home Rule 'neath the clear blue skies." Says the grand old dame Britannia.— Seán Ó Cathasaigh, "Grand Ould Dame Britannia", 1916
After the Easter Rising
In 1917, his friend
He spent the next five years writing plays. In 1918, when both his sister and mother died (in January and September, respectively), the St Laurence O'Toole National Club commissioned him to write the play The Frost in the Flower. He had been in the St Laurence O'Toole Pipe Band and played on the hurling team. The club declined to put the play on out of fear that its satirical treatment of several parishioners would cause resentment. O'Casey then submitted the play to the Abbey Theatre, which also rejected it but encouraged him to continue writing. Eventually, O'Casey expanded the play to three acts and retitled it The Harvest Festival.
Abbey Theatre
O'Casey's first accepted play, The Shadow of a Gunman, was performed at the Abbey Theatre in 1923. This was the beginning of a relationship that was to be fruitful for both theatre and dramatist but which ended in some bitterness.
The play deals with the impact of revolutionary politics on
The Plough and the Stars was not well received by the Abbey audience and resulted in scenes reminiscent of the riots that greeted
After the incident, even though the play was well liked by most of the Abbey goers, Liam O'Flaherty, Austin Clarke and F. R. Higgins launched an attack against it in the press. O'Casey believed it was an attack on Yeats, that they were using O'Casey's play to berate Yeats.
In 1952 he appeared in a play by Irish playwright Teresa Deevy, The Wild Goose,[12] in which he played the part of Father Ryan. O'Casey was involved in numerous productions with the Abbey; these can be found in the Abbey Archives.[13]
England
While in London to receive the Hawthornden Prize and supervise the West End production of Juno and the Paycock, O'Casey fell in love with Eileen Carey. The couple were married in 1927 and remained in London until 1938,[14] when they moved to Totnes.
In 1928, W. B. Yeats rejected O'Casey's fourth play,
Denis Johnston, who knew O'Casey and spent time with him in London in the 1920s, is certain that the Abbey was right not to stage The Silver Tassie: "Its expressionist second act was at that time far beyond the scope of the Abbey Theatre."[15] A year later Johnston's own The Old Lady Says "No!" was similarly rejected, for the same reason. Nevertheless O'Casey's resentment over this persisted for many years.
The plays O'Casey wrote after this included the darkly allegorical Within the Gates (1934), which is set within the gates of a busy city park based on London's Hyde Park. Although it was highly controversial, Eugene O'Neill responded positively to it. The play was originally going to be a film script for Alfred Hitchcock. O'Casey's widow described it in her memoir, Sean (1971):
Originally he had imagined it as a film in which everything, from flower-beds to uniforms, would be stylised. Beginning at dawn and ending at midnight, to the soft chime of Big Ben in the distance, it would be "geometrical and emotional, the emotions of the living characters to be shown against their own patterns and the patterns of the Park." Having got so far, he wrote to Alfred Hitchcock, and when Hitchcock and his wife dined with us Sean explained his ideas to an apparently responsive hearer. Hitchcock and he talked excitedly. They parted on the same terms, with the prospect of another immediate meeting, and Sean never heard again.[8]
The play was unsuccessful in Northern Ireland and was not produced in the south until 2010.[16] In the autumn of 1934, O'Casey went to the United States to visit the New York City production of Within the Gates, which he admired greatly. It was directed by actor Melvyn Douglas and starred Lillian Gish. This is when he befriended Eugene O'Neill, Sherwood Anderson and George Jean Nathan.[8][17]
The Star Turns Red (1940) is a four-act political allegory in which the Star of Bethlehem turns red. The story follows Big Red (who was based on O'Casey's friend, James Larkin) who is a trade-union leader. The union takes over the unnamed country despite the ruthless efforts of the Saffron Shirts, a fascist organisation openly supported by the Roman Catholic hierarchy of the country. It was staged by the Unity Theatre in London during 1940 (later, in 1978 by the Abbey in Dublin).
Purple Dust (1943) follows two wealthy, materialistic English stockbrokers who buy an ancient Irish mansion and attempt to restore it with their wrong notions of
The Englishmen set their opposing standards against those represented by the men employed to renovate the house. In the resulting confrontation the English are satirised and in the end disappointed when a symbolic storm destroys their dream of resettling the old into the present. The hint that is enforced by the conclusion is that the little heap of purple dust that remains will be swept away by the rising winds of change, like the residue of pompous imperialism that abides in Ireland. The show has been compared to Shaw's John Bull's Other Island, which was one of O'Casey's favourites, but aside from a few similarities, there are no real grounds for comparison.[8]
He also wrote Red Roses for Me (1943), which saw him move away from his early style in favour of more expressionistic means and overtly socialist content to his writing. It went up at Dublin's Olympia Theatre (which was the first one produced in Ireland in seventeen years). It would move on to London in 1946, where O'Casey himself was able to see it. This was the first show of his own he saw since Within The Gates in 1934.[8]
Oak Leaves and Lavender (1945) is a propaganda play commemorating the
These plays have never had the same critical or popular success as the early trilogy. After the Second World War he wrote Cock-a-Doodle Dandy (1949), which is perhaps his most beautiful and exciting work.[original research?] From The Bishop's Bonfire (1955) O'Casey's late plays are studies on the common life in Ireland, "Irish microcosmos", like The Drums of Father Ned (1958).
His play The Drums of Father Ned was supposed to go up at the 1958
Later life
In 1959, O'Casey gave his blessing to a musical adaptation of Juno and the Paycock by American composer
Also in 1959, George Devine produced Cock-a-Doodle Dandy at the Royal Court Theatre and it was also successful at the Edinburgh International Festival and had a West End run.
His eightieth birthday occurred in 1960, and to celebrate, David Krause and Robert Hogan wrote full-length studies. The Mermaid Theatre in London launched the "O'Casey Festival" in 1962, which in turn made more theatre establishments put on his works, mostly in Britain and Germany.[8] It is in the late years that O'Casey put his creative energy into his six-volume Autobiography.
On 18 September 1964 at the age of 84, O'Casey died of a heart attack, in Torquay, Devon.[18] He was cremated at the Golders Green Crematorium.
In 1965, his autobiography Mirror in My House (the umbrella title under which the six autobiographies he published from 1939 to 1956 were republished, in two large volumes, in 1956) was turned into a film based on his life called Young Cassidy. The film was directed by Jack Cardiff (and John Ford) featuring Rod Taylor (as O'Casey), Flora Robson, Maggie Smith, Julie Christie, Edith Evans and Michael Redgrave.
Personal life
O'Casey was married to Irish actress Eileen Carey Reynolds (1903–1995)
Archival collection
In 2005, David H. Greene donated a collection of letters he received from O'Casey from 1944 to 1962 to the Fales Library at New York University. Also in the collection are two letters written by Eileen O'Casey and one letter addressed to Catherine Greene, David Greene's spouse.
O'Casey's papers are held in the
Works
- Lament for Thomas Ashe (1917), as Seán Ó Cathasaigh
- The Story of Thomas Ashe (1917), as Seán Ó Cathasaigh
- Songs of the Wren (1918), as Seán Ó Cathasaigh
- More Wren Songs (1918), as Seán Ó Cathasaigh
- The Harvest Festival (1918)
- The Story of the Irish Citizen Army (1919), as Seán Ó Cathasaigh
- The Shadow of a Gunman (1923)
- Kathleen Listens In (1923)
- Juno and the Paycock (1924)
- Nannie's Night Out (1924)
- The Plough and the Stars (1926)
- The Silver Tassie (1927)
- Within the Gates (1934)
- The End of the Beginning (1937)
- A Pound on Demand (1939)
- The Star Turns Red (1940)
- Red Roses for Me (1942)
- Purple Dust (1940/1945)
- Oak Leaves and Lavender (1946)
- Cock-a-Doodle Dandy (1949)
- Hall of Healing (1951)
- Bedtime Story (1951)
- Time to Go (1951)
- The Wild Goose (1952)
- The Bishop's Bonfire: A Sad Play within the Tune of a Polka (1955)
- Mirror in My House (two volumes, 1956, reissued as Autobiographies, 1963 and since; combining the six books of memoirs listed next)
- I Knock at the Door (1939)
- Pictures in the Hallway (1942)
- Drums Under the Window (1945)
- Inishfallen, Fare Thee Well (1949)
- Rose and Crown (1952)
- Sunset and Evening Star (1954)
- The Drums of Father Ned (written 1957, staged 1959)
- Behind the Green Curtains (1961)
- Figuro in the Night (1961)
- The Moon Shines on Kylenamoe (1961)
- Niall: A Lament (1991)
Awards and recognition
- (1926) – Hawthornden Prize for Juno and the Paycock
- (1949) – Newspaper Guildof New York's "Page One Award" for I Knock at the Door, Pictures in the Hallway, Drums under the Windows, and Inishfallen, Fare Thee Well
- Order of the British Empire (declined)
- (1960) – Durham University Honorary Degree (declined)
- (1960) – University of Exeter Honorary Degree (declined)
- (1961) – Trinity College, Dublin Honorary Degree (declined)[8]
Legacy
In Dublin, a foot bridge on the Liffey is named after him.
References
- ^ "General Registrar's Office". IrishGenealogy.ie. Retrieved 30 March 2017.
- ^ "Church records". IrishGenealogy.ie. Retrieved 30 March 2017.
- ^ a b c
O'Casey, Sean; Krause, David; Lowery, Robert G. (1980). Sean O'Casey, Centenary Essays. C. Smythe. pp. 1–2. ISBN 978-0-86140-008-9.
- ^ "St Barnabas". Archived from the original on 6 March 2019. Retrieved 2 March 2019.
- ^ LM Cullen, Eason and Son, A History.
- ISBN 978-0-7171-2750-4. Retrieved 29 October 2011.
- ^ Murray, Christopher (2004). Sean O'Casey: Writer at Work : a Biography. McGill-Queen's Press-MQUP. p. 106.
- ^ ISBN 978-0-8103-0937-1.
- ^ The Oxford Companion to English Literature, 6th Edition. Edited by Margaret Drabble, Oxford University Press, 2000 Pp 734
- ISBN 978-0-7876-3995-2.
- ISBN 978-0874134216. Retrieved 18 August 2018.
- ^ "The Wild Goose". The Teresa Deevy Archive. Retrieved 14 July 2016.
- ^ "O'Casey, Sean (I)". The Abbey Theatre Archive. Retrieved 14 July 2016.
- ^ Krause, David Sean O'Casey and his world, London: Thames & Hudson, 1976
- ^ Denis Johnston "Sean O'Casey in the Twenties". In O hAodha, Micheal (ed). The O'Casey Enigma. Dublin: Mercier Press, 1980, p. 31.
- ^ "Within the Gates". Dublin Lyric Theatre.
- ^ "Within The Gates 1934". LillianGish1893. 8 September 2018.
- ^ "The Learning Network". The New York Times. Retrieved 28 July 2022 – via NYTimes.com.
- ^ Calder, John (11 April 1995). "OBITUARY: Eileen O'Casey". The Independent. London.
- ^ Rota, Kara (October 2010). "A Lasting Legacy: Sean O'Casey and the Abbey Theater".
Further reading
- Irish Writers on Writing featuring Seán O'Casey. Edited by Eavan Boland (Trinity University Press, 2007).
- Igoe, Vivien. A Literary Guide to Dublin. Methuen, 1994; ISBN 0-413-69120-9
- ISBN 0-85342-637-6
- Krause, David. Seán O'Casey and his World. New York: C. Scribner's, 1976; ISBN 0-500-13055-8
- Murray, Christopher. Seán O'Casey, Writer at Work. Gill and MacMillan, McGill-Queen's University Press, 2004; ISBN 0-7735-2889-X
- Ryan, Philip B. The Lost Theatres of Dublin. The Badger Press, 1998; ISBN 0-9526076-1-1
- Schrank, Bernice. Sean O'Casey: A Research and Production Sourcebook. Greenwood Press, 1996; ISBN 0-313-27844-X
External links
- Media related to Sean O'Casey at Wikimedia Commons
- Quotations related to Seán O'Casey at Wikiquote
- Link to the Fales library guide to the David H. Greene Collection of Sean O'Casey Letters
- Sean O'Casey Collection at the Harry Ransom Center
- Seán O'Casey and the 1916 Easter Rising
- O'Casey at Today in Literature
- Robert G. Lowery – Sean O'Casey Collection – at Boston College John J. Burns Library
- Sean O'Casey letters, 1946–1969 – at Boston College John J. Burns Library
- Bibliography,
- Seán O'Casey profile, threemonkeysonline.com
- "Archival material relating to Seán O'Casey". UK National Archives.
- Portraits of Sean O'Casey at the National Portrait Gallery, London
- 'Ireland's Shakespeare': three actors on Seán O'Casey
- Seán O'Casey at The Teresa Deevy Archive
- Seán O'Casey at The Abbey Theatre Archive