Seán O'Casey

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Seán O'Casey
Sean ocasey 1924.jpg
Seán O'Casey
Born (1880-03-30)30 March 1880
Dublin, Ireland
Died 18 September 1964(1964-09-18) (aged 84)
Torquay, England
Pen name Seán O'Cathasaigh
Occupation Dramatist
Nationality Irish
Spouse Eileen Carey Reynolds (m. 1927–64)
Children Breon O'Casey, Niall, Shivaun

Seán O'Casey (Irish: Seán Ó Cathasaigh, Irish pronunciation: [ˈʃaːn̪ˠoːˈkahəsˠiː]; 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.

Biography[edit]

Early life[edit]

O'Casey was born in Dublin, Ireland, as John Casey[1] or John Cassidy[2] to Michael and Susan Archer Casey in a house at 85 Upper Dorset Street, in the northern inner-city area of Dublin. It is commonly thought that he grew up in the working class society in which many of his plays are set. In fact, his family were considered as "shabby genteel". He was a member of the Church of Ireland, baptised on 28 July 1880[3] in St. Mary's parish, confirmed at St John the Baptist Church in Clontarf,[4] and an active member of Saint Barnabas until his mid-twenties,[4] when he drifted away from the church.

O'Casey's father died when Seán was just six years of age, leaving a family of thirteen.[4] 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 Easons 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 older 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 what was to be the site of the Abbey Theatre.

Politics[edit]

As his interest in the Irish nationalist cause grew, O'Casey joined the Gaelic League in 1906 and learned the Irish language. At this time, he Gaelicized his name from John Casey to Seán Ó Cathasaigh. He also learned to play the Uilleann pipes and was a founder and secretary of the St. Laurence O'Toole Pipe Band. He joined the Irish Republican Brotherhood,[6] and became involved in the Irish Transport and General Workers Union, which had been established by Jim Larkin to represent the interests of the unskilled labourers who inhabited the Dublin tenements. He participated in the Dublin Lock-out, but was blackballed and could not find steady work for some time.

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 deny dual membership to both the ICA and the Irish Volunteers was rejected.

Post Easter Rising[edit]

In 1917, his friend Thomas Ashe died in a hunger strike and it inspired him to write. He wrote two laments:one in verse and a longer one in prose.[7]

He would spend the next five years writing plays. One of them, The Frost in the Flower, was commissioned by the Saint Laurence O'Toole National Club in 1918. Both his sister and mother died in this year (January and September, respectively). He had been in the St. Laurence O'Toole Pipe Band and played on the hurling team. The club had to decline putting it on because they were afraid the satirical treatment of several parishioners would be resented if it was staged locally. This eventually led him to submit it to the Abbey Theatre; it was rejected though it was well received. This led him to re-write it, eventually having it be re-titled (and expanded to three-acts) as The Harvest Festival.

Abbey Theatre[edit]

No. 422 North Circular Road, the house where O' Casey wrote the Dublin Trilogy.

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 Dublin's slums and their inhabitants, and is understood to be set in Mountjoy Square, where he lived during the 1916 Easter Rising. It was followed by Juno and the Paycock (1924) and The Plough and the Stars (1926). The former deals with the effect of the Irish Civil War on the working class poor of the city, while the latter is set in Dublin in 1916 around the Easter Rising. Juno and the Paycock became a film directed by Alfred Hitchcock.

The Plough and the Stars was not well received by the Abbey audience and resulted in scenes reminiscent of the riots that greeted J. M. Synge's The Playboy of the Western World in 1907. There was a riot reported on the fourth night of the show. His depiction of sex and religion even offended some of the actors, who refused to speak their lines. The full-scale riot occurred partly because the play was thought to be an attack on the men in the rising and partly in protest in opposition to the animated appearance of a prostitute in Act 2.[8] W. B. Yeats intervened and described the audience as "shaming themselves". The takings of the play were substantial compared with the previous week. O'Casey gave up his job and became a full-time writer.

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.

England[edit]

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.[9]

In 1928, W. B. Yeats rejected O'Casey's fourth play, The Silver Tassie for the Abbey. It was an attack on imperialist wars and the suffering they cause. The Abbey refused to perform it. The premier production was funded by Charles B. Cochran, who took only eighteen months to put it on stage. It was put up at the Apollo Theatre but lasted for only twenty-six performances. It was directed by Raymond Massey, starred Charles Laughton, and with an Act II set design by Augustus John. George Bernard Shaw and Lady Gregory had a favourable opinion of the show.

Study of Sean O'Casey by Dublin artist Reginald Gray, for the New York Times. 1966)

The plays he 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. His widow described it in her memoirs, 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."[7]

It closed not long after opening and was another box office failure.

In the fall of 1934, O'Casey went to the United States to visit the New York 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.[7]

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 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 Tudor customs and taste. They try to impose upon a community with vastly different customs and life-styles that are much closer to ancient Gaelic ways and are against such false values.

Sean O' Casey home.
Sean O'Casey's childhood home. Upper Dorset Street, Dublin

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.[7]

He also penned 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 the Olympia Theatre, Dublin (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.[7]

Oak Leaves and Lavender (1945) is a propaganda play commemorating the Battle of Britain and England's heroics in the anti-Nazi crusade and it takes place in a manor with shadowy eighteenth-century figures commenting on the present.[7]

These plays have never had the same critical or popular success as the early trilogy. After World War II he wrote Cock-a-Doodle Dandy (1949), which is perhaps his most beautiful and exciting work. 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 Dublin Theatre Festival, but the Catholic Archbishop of Dublin, John Charles McQuaid, refused to give his blessing (it has been assumed because works of both James Joyce and O'Casey were in the Festival). After Joyce's play was quietly dropped, massive changes were required for The Drums of Father Ned, a devious way to get O'Casey to drop. After this, Samuel Beckett withdrew his mime piece in protest.[7]

Later life[edit]

Sean O'Casey home.
No. 9 Innisfallen Parade, Dublin. Sean O'Casey lived here from 1882–1888

In 1959 O'Casey gave his blessing to a musical adaptation of Juno and the Paycock by American composer Marc Blitzstein. The musical, retitled Juno, was a commercial failure, closing after only 16 Broadway performances. It was also panned by some critics as being too "dark" to be an appropriate musical, a genre then almost invariably associated with light comedy. However, the music, which survives in a cast album made before the show opened, has since been regarded as some of Blitzstein's best work. Although endorsed by the then 79-year-old O'Casey, he did not contribute to the production or even see it during its brief run. Despite general agreement on the brilliance of the underlying material, the musical has defied all efforts to mount any successful revival.

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 England and Germany.[7] It is in these 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, England.[10] 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[edit]

He was married to Irish actress Eileen Carey Reynolds (1903–1995)[11] from 1927 to his death. The couple had three children: two sons, Breon and Níall (who died in 1957 of leukaemia), and a daughter, Siobhán.[7]

Archival collection[edit]

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 New York Public Library, the Cornell University Library, the University of California, Los Angeles Library System, the University of London Library, the National Library of Ireland, Colby College, Boston College and the Fales Library.

Works[edit]

  • Lament for Thomas Ashe (1917), as Sean O'Cathasaigh
  • The Story of Thomas Ashe (1917), as Sean O'Cathasaigh
  • Songs of the Wren (1918), as Sean O'Cathasaigh
  • More Wren Songs (1918), as Sean O'Cathasaigh
  • The Harvest Festival (1918)
  • The Story of the Irish Citizen Army (1919), as Sean O'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 Bishop's Bonfire (1955)
  • A Sad Play within the Tune of a Polka (1955)
  • The Drums of Father Ned (1959)
  • Behind the Green Curtains (1961)
  • Figuro in the Night (1961)
  • The Moon Shines on Kylenamoe (1961)
  • Niall: A Lament (1991)
  • Autobiography (6 volumes):
    • I Knock at the Door
    • Pictures in the Hallway
    • Drums Under the Window
    • Inishfallen Fare Thee Well
    • Rose and Crown
    • Sunset and Evening Star

Awards and recognition[edit]

Legacy[edit]

In Dublin, a foot bridge on the Liffey is named after him.

See also[edit]

References[edit]

  1. ^ Bio of O'Casey
  2. ^ Irish Writers on Writing, ed. Eavan Boland. Trinity University Press, 2007.
  3. ^ Baptismal entry
  4. ^ a b c O'Casey, Sean; Krause, David; Lowery, Robert G. (1980). Sean O'Casey, Centenary Essays. C. Smythe. pp. 1–2. ISBN 0-86140-008-9. 
  5. ^ LM Cullen, Eason and Son, A History.
  6. ^ Murray, Christopher (2004). Seán O'Casey: writer at work : a biography. Gill & Macmillan Ltd. p. 66. ISBN 978-0-7171-2750-4. Retrieved 29 October 2011. 
  7. ^ a b c d e f g h i j Ayling, Ronald (1982). Modern British Dramatists, 1900–1945. Detroit, Michigan: Gale. ISBN 978-0-8103-0937-1. 
  8. ^ Contemporary Authors Online. Detroit, Michigan: Gale. 2003. ISBN 978-0-7876-3995-2. 
  9. ^ Krause, David Sean O'Casey and his world, London: Thames & Hudson, 1976
  10. ^ Seán O'Casey, Irish Playwright, Is Dead at 84, New York Times
  11. ^ Calder, John (11 April 1995). "OBITUARY: Eileen O'Casey". The Independent (London). 

Further reading[edit]

External links[edit]

Print

  • Igoe, Vivien. A Literary Guide to Dublin. Methuen, 1994. ISBN 0-413-69120-9
  • 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

Online