Book contents
- Sean O’Casey in Context
- Sean O’Casey in Context
- Copyright page
- Contents
- Figures
- Tables
- Contributors
- Acknowledgements
- Sean O’Casey’s Life and Times: A Chronology
- Abbreviations
- Introduction
- Part I Key Places and Events
- Part II Social Contexts
- Part III Collaborators and Critics
- Chapter 16 W. B. Yeats
- Chapter 17 Lady Gregory
- Chapter 18 Bernard Shaw
- Chapter 19 Eileen Carey (Eileen O’Casey)
- Chapter 20 Tomás Mac Anna
- Chapter 21 Seamus Deane
- Chapter 22 Garry Hynes
- Chapter 23 Theatrical Emulators
- Part IV Performance Legacies
- Part V Non-Theatrical Writings
- Part VI Critical Understandings
- Further Reading
- Index
Chapter 22 - Garry Hynes
from Part III - Collaborators and Critics
Published online by Cambridge University Press: 23 June 2025
Edited by
Book contents
- Sean O’Casey in Context
- Sean O’Casey in Context
- Copyright page
- Contents
- Figures
- Tables
- Contributors
- Acknowledgements
- Sean O’Casey’s Life and Times: A Chronology
- Abbreviations
- Introduction
- Part I Key Places and Events
- Part II Social Contexts
- Part III Collaborators and Critics
- Chapter 16 W. B. Yeats
- Chapter 17 Lady Gregory
- Chapter 18 Bernard Shaw
- Chapter 19 Eileen Carey (Eileen O’Casey)
- Chapter 20 Tomás Mac Anna
- Chapter 21 Seamus Deane
- Chapter 22 Garry Hynes
- Chapter 23 Theatrical Emulators
- Part IV Performance Legacies
- Part V Non-Theatrical Writings
- Part VI Critical Understandings
- Further Reading
- Index
Summary
In 1991, the Abbey Theatre staged a version of The Plough and the Stars that was hailed by Desmond Rushe, then drama critic of the Irish Independent, as ‘the most revolutionary and controversial presentation ever seen of the theatre’s most performed masterpiece’. The director of this production was Garry Hynes, the new artistic director of the Abbey, who had chosen to begin her tenure with a version of O’Casey’s play. This chapter consider how and why Hynes has staged O’Casey,focusing on her productions of his work from 1991 to 2023, tracing an evolution of staging from the Abbey’s 1991 production to Hynes’ DruidO’Casey cycle of 2023.
Keywords
Information
- Type
- Chapter
- Information
- Sean O'Casey in Context , pp. 233 - 242Publisher: Cambridge University PressPrint publication year: 2025
Accessibility standard: Inaccessible, or known limited accessibility
Why this information is here
This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.Accessibility Information
The HTML of this chapter is known to have missing or limited accessibility features.
We may be reviewing its accessibility for future improvement, but final compliance is
not yet assured and may be subject to legal exceptions. If you have any questions,
please contact
accessibility@cambridge.org.
Content Navigation
Table of contents navigation
Allows you to navigate directly to chapters, sections, or non‐text items through a linked table of contents, reducing the need for extensive scrolling.
Allows you to navigate directly to chapters, sections, or non‐text items through a linked table of contents, reducing the need for extensive scrolling.
Index navigation
Provides an interactive index, letting you go straight to where a term or subject appears in the text without manual searching.
Provides an interactive index, letting you go straight to where a term or subject appears in the text without manual searching.
Reading Order & Textual Equivalents
Single logical reading order
You will encounter all content (including footnotes, captions, etc.) in a clear, sequential flow, making it easier to follow with assistive tools like screen readers.
You will encounter all content (including footnotes, captions, etc.) in a clear, sequential flow, making it easier to follow with assistive tools like screen readers.
Visual Accessibility
Use of colour is not sole means of conveying information
You will still understand key ideas or prompts without relying solely on colour, which is especially helpful if you have colour vision deficiencies.
You will still understand key ideas or prompts without relying solely on colour, which is especially helpful if you have colour vision deficiencies.