By John O'Riordan
An intensive consultant and research of playwright Sean O'Casey's works - performs and Playlets- by means of John O'Riordan. Touches on 23 of his O'Casey's works.
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Extra resources for A Guide to O’Casey’s Plays: From the Plough to the Stars
A few hours elapse between the two acts. At the beginning of Act Two it is after curfew and past midnight. Shields is in bed, and Davoren, after invoking Shelley and Shakespeare, is still writing his verses, which, later, O'Casey acknowledges as his own: they appear as 'Sunshadows' and 'A Walk with Eros' in his curiously-coloured miscellany, Windfalls ( 1934). Shields intercepts the poetic flow of Davoren's thoughts with bluster about the uncertainty of the political climate, with its indiscriminate and sudden outbursts of ambushes and explosions.
Ibsen's The Wild Duck (the subject of scornful riposte when 'Captain' Boyle picks up a book belonging to his daughter consisting of A Doll's House and other plays: 'buks only fit for chiselurs! ') and O'Casey's own Juno and the Paycock have this much in common: each centres on a windbag's family kept more or less on the rails by a realistic, self-sacrificing wife; and each ends with the death of one of its members, sacrificed to somebody else's will-a' -the-wisp and whim of idealism. O'Casey's Johnny Boyle, caught up in the most brutal stage of the Irish struggle, is shot by former comrades masquerading as dauntless revolutionaries, while Ibsen's Hedrig Ekdal shoots herself because she imagines her father hates her.
Like those in The Shadow rif a Gunman, they are of the same hardihood as American Westerners (tough of fibre and filled with the vigorous juice of life) whom they indigenously resemble. ' as his butty and drinking companion, 'Joxer' Daly, one of the residents in his tenement, alludes to him in one of his more ungracious and sardonically malicious moments.