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Colour in the Plays of Sean O'casey

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Colour in the Plays of Sean O'casey “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face: Colour in the Plays of Sean O’Casey Ryan K Evans This thesis is submitted for the degree of Master of Philosophy August 2019 English and Creative Writing “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Declaration This thesis has not been submitted in support of an application for another degree at this or any other university. It is the result of my own work and includes nothing that is the outcome of work done in collaboration except where specifically indicated. Many of the ideas in this thesis were the product of discussion with my supervisors Tony Pinkney and Tony Sharpe. Ryan Evans Lancaster University, UK Ryan K Evans July 2019 ii “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Abstract This thesis examines the presence and use of colour in the plays of Sean O’Casey and argues that while a portion of colour in the drama is aesthetic, another portion is intentionally utilized as a means to provide additional contextual commentary, be it cultural, religious, political, or artistic in nature. This practice stems, I argue, in part because of O’Casey’s tendency towards an appreciation for beautiful things stemming from his artistic leanings. I also argue that the politics of his youth: associations with the Irish Citizen Army and the Labour Movement, his family’s poverty due to the early passing of his father Michael, his relationship with religion, and his desire to open the arts to the masses influenced how and why he wrote. I use as a support to these ideas Michael Pierse’s recent publication on Irish working-class writing history and the colour theories of Sabine Doran and Ulf Klaren and Karin Fridell Anter to analyse the texts of the plays as well as analysing productions of eight O’Casey plays. I come to the conclusion that O’Casey utilized colour as a means of enhancing the reality perceived within his plays to provide context on the various historical, political, and social movements addressed. Ryan K Evans July 2019 iii “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Acknowledgements Thank you to Tony Pinkney and Tony Sharpe for their unwavering patience and the many hours they spent helping me in my studies. Thanks as well to Neal Kirk for providing friendship, support, and great conversations in the office. Thanks as well to the various faculty of the English and Creative Writing Department at Lancaster University who supported me and were so kind to me throughout my studies at Lancaster University. Finally, a huge thanks goes to my wife, for supporting me above all else and sacrificing her time to move to a foreign country and raise our kids, often without my help. I love you, my Nika! “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey Table of Contents 1 Introduction: O’Casey and his eye for colour ......................................................................... 3 2 Colour and naturalism in the Dublin Trilogy and The Silver Tassie .................................... 39 3 Interpretations of the Dublin Trilogy and The Silver Tassie................................................. 68 4 Politics, religion and colour in O’Casey’s later plays......................................................... 105 5 Expressionism and Multi-valent Figurations in Abbey productions of The Star Turns Red, Red Roses for Me, Cock a Doodle Dandy, and The Drums of Father Ned ........................... 133 6 Conclusion .......................................................................................................................... 145 Works Cited ........................................................................................................................... 153 Ryan K Evans July 2019 2 “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey 1 Introduction: O’Casey and his eye for colour “The People! Damn the People! They live in the abyss, the poet lives on the mountain-top; to the people, there is no mystery of colour; it is simply the scarlet coat of the soldier; the purple vestments of a priest; the green banner of a party; the brown or blue overalls of industry…to the poet the end of life is the life that he creates for himself; life has a stifling grip upon the people’s throat – it is the poet’s musician.” The Shadow of a Gunman, 127 “– Oh, I’ve a great respect for our National Gallery, and have gone through it, of course; but what has all this got to do with our difficulty? He hasn’t any eye for colour, thought Sean. Here are the golden trumpets of musk sounding at his very ear; a carillon of purple fuchsia bells pealing pensively, and he can hear neither; and there was the rose window of a scarlet geranium behind them, and his eyes were too clouded with worldly things to see it. This man couldn’t understand that when Sean’s mother reverently touched the blossoms with her gnarled finger, God Himself was admiring the loveliness He had made.” Autobiographies 1, 600 Some might question whether Sean O’Casey’s drama is still relevant today, and if any of his later plays match the quality of his more successful Abbey plays, consisting of the Dublin Trilogy (consisting of The Shadow of a Gunman, Juno and the Paycock, and The Plough and the Stars) and The Silver Tassie. Director Sean Holmes and the Abbey Theatre, in the marketing campaign and production of The Plough and the Stars in 2016, rightly saw the modern relevance of a play about poverty, mislaid dreams, and political strife. A more difficult question to answer is how to identify O’Casey: is he a political activist who used the stage for his political platform, or is he a dramatist who followed specific theatrical forms? Ryan K Evans July 2019 3 “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey In this thesis, I contend that O’Casey was a playwright and not a political activist; I believe, as does Michael Pierse, that O’Casey took inspiration from his working-class experiences1 when he created his art. In addition, I wish to discuss the general lack of enthusiasm regarding O’Casey’s later plays, which I think results from the negative reviews of his Abbey work stemming from the circumstances behind O’Casey’s self-imposed exile from Ireland.2 The typical attitude that O’Casey manifested towards critics and naysayers was aggression and hostility. Each editorial and each of O’Casey’s responses after the Tassie rejection became more about O’Casey’s relationship with Ireland and his status as an Irish writer and less about the drama he was creating. To confirm this, one need simply compare reviews of the Dublin Trilogy with the reviews of and critical reaction to O’Casey’s post-Ireland plays. The language of early production reviews is much more positive in tone. O’Casey may have struggled to convince the Abbey to stage his plays,3 but his first play, The Shadow 1 This is a slightly problematic statement, because of a mix up of the address of the playwright’s childhood home; Anthony Butler provides convincing evidence that O’Casey was in fact born to a lower middle class family, “The Early Background,” in The World of Sean O’Casey ed. By Sean McCann (Four Square Books, 1966), p. 12. However, O’Casey’s involvement with labour unions and the Irish Citizen Army, as well as his history of manual labour employment prior to his writing career suggests that the adjectival use of working- class is appropriate. As mentioned, others like Michael Pierse argue that O’Casey ought to be considered as a working-class author in A History of Working-Class Writing (Cambridge University Press, 2018), which Pierse edited. 2 The best place to explore the circumstances behind the Abbey Theatre’s decision to reject The Silver Tassie is in volume I of The Letters of Sean O’Casey edited by David Krause. 3 O’Casey submitted four plays (The Harvest Festival, The Frost in the Flower, The Robes of Ryan K Evans July 2019 4 “To Throw a Whole World in Colour on a Canvas Though it be but a Man’s Fine Face”: Colour in the Plays of Sean O’Casey of a Gunman, was an immediate success. Critics enthusiastically praised his characterization, and even though there was some general criticism over the stagecraft and plot of the play, they were all positive in tone. F. J. H. O’D remarked in the Evening Herald (April 12, 1923) that O’Casey’s characterization was “excellent and convincing;” M. F. McH. echoed this sentiment, saying in the Freeman’s Journal (April 12, 1923) that there was “very excellent characterization” in spite of a play that did not conform to “the conventional idea of good stagecraft.” The review posted in The Irish Times (April 13, 1923), while more critical regarding the plot and elements of the play, still admitted that O’Casey had a play that could “live for a very long time.” Likewise, Juno and the Paycock proved to be very popular, elevating O’Casey from being a published dramatist to a master of irony.
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