By Robert Hogan
Read Online or Download After the Irish Renaissance: A Critical History of the Irish Drama since The Plough and The Stars PDF
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Extra info for After the Irish Renaissance: A Critical History of the Irish Drama since The Plough and The Stars
The play has a touch of Expressionism in Act III when some dancers in a speakeasy dance in puppet-like fashion, and rather more than a touch in the satirical ending of Act II which utilized actual puppets. This lack of parochialism 25 THE REALISTIC DRAMA OF THE ABBEY in technique was paralleled in the casting when Meriel Moore and Micheal Mac Liammoir of the Gate took prominent roles. Holloway and other typical Abbey patrons criticized Robinson's ingratitude to the United States in writing of it so caustically.
In September, a new manager, J. Augustus Keogh, was brought in to form a new company. In the meantime, Ervine's own interests turned away from Ireland. He fought in the war and lost a leg. He became an important drama critic for The Observer, and later spent a year as an astringent guest critic on a New York paper. His John Ferguson and Jane Clegg were the financial saving of the New York Theatre Guild. In more recent years he has written a number of comedies for the British stage somewhat in the style of Somerset Maugham.
But some criticisms of his policy have been motivated by those typically Dublinish qualities of spleen and envy, and the pamphlet makes clear that there are points in his favor. He did engineer the government subsidy, and he has helped to increase that subsidy until it is now ten times what it once was. He also kept the Abbey going in its long, commercially difficult exile in Pearse Street; when he talks of the commercial necessities of the theatre he knows more what he is talking about than do most of his critics.