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The Playwright and the Abbey Theatre. Phd Thesis. Ht Francombe, Benedict John (1993) "The home of the living writer" : the playwright and the Abbey Theatre. PhD thesis. http://theses.gla.ac.uk/1852/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] "THE HOME OF THE LIVING WRITER11,: . THE PLAYWRIGHT AND THE ABBEY THEATRE II Benedict John Francombe Thesis submitted for the degree of Doctor of Philosophy,', Department of Theatre, Film and Television Studies, Faculty of Arts, University of Glasgow. May 1993. Abstract This thesis attempts to outline the practical relationship between Irish playwrights and the Abbey Theatre, from the early work of the Irish Literary Theatre in 1899, until the present day. It argues that the Abbey's reputation for being a writer's theatre tends to be contradicted by its distant association with Irish playwrights during the greater part of its history. Only during the early 1980swas there an active attempt to integrate the playwright within the company, creating a vibrant and active community for the development of new writing. Up until the 1980s the Abbey subscribedto the establishedtwentieth- century view that the playwright was a literary writer, outside the creative centre of theatre. The Abbey's changing roles -- from literary theatre, to institutional national theatre and to director's theatre -- distracted the Theatre from acknowledging the valuable contribution individual dramatists could make, ensuring that the playwright remained vulnerable and isolated. The Abbey remained heavily dependent on its own historical inheritance and international reputation, satisfied with a repertoire of predictable classics. The Theatre'sapproach to playwrights changedin 1978, when Artistic Director Joe Dowling attempted to create what he termed "the home of the living writer". With assistancefrom Script Editor Sean McCarthy, Dowling instigated a seriesof policies which went towards building a coherent writer's theatre within the Abbey, similar to London's Royal Court. Playwrights became members of the company, were assisted with the development of ideas and encouragedto contribute to the rehearsal process. These actions assured experimental playwright development, exemplified by the work of Tom MacIntyre, whose work proved that a playwright could evolve his own artistic identity within an establishedtheatre. Since Joe Dowling's resignation in 1985, the Abbey has failed to continue a clear policy towards the practical assistanceof the playwright. It is argued, however, that both Dowling's policies and MacIntyre's plays have influenced a growing Irish theatre scene,well preparedto explore the possible active relationship between the playwright and the rest of the theatre community. Contents Introduction: 6 Chapter One: The Abbey Theatre 1898 - 1915. The Playwright 24 and a Literary Theatre Chapter Two: The Abbey Theatre 1916 - 1960. The Playwright 63 and Institutional Morality Chapter Three: The Abbey Theatre 1960 - 1978. The Playwright 98 and the Artistic Director Chapter Four: The Abbey Theatre 1978 - 1982. Joe Dowling, 129 SeanMcCarthy and'the Home of the Living Writer' Chapter Five: Tom MacIntyre. The Playwright within a 175 Playwright's Theatre Chapter Six: The Playwright and the Abbey 1983 to the 222 presentday. Stagnationand Debate Conclusion: 263 Bibliography: - 268 List of Illustrations Facing Page Figure One: The Old Abbey Theatre 10 Figure Two: W. B. Yeats 32 Figure Three: Lady Gregory 53 Figure Four: Lennox Robinson 68 Figure Five: Tomds MacAnna 103 Figure Six: Interior of the New Abbey Theatre 107 Figure Seven: Interior of the PeacockTheatre 121 Figure Eight: Talbot's Box by Thomas Kilroy 127 Figure Nine: The Death of Humpty Dumpty by GrahamReid 132 Figure Ten: Joe Dowling 136 Figure Eleven: SeanMcCarthy 151 Figure Twelve: Tom MacIntyre 177 Figure Thirteen: The Great Hunger by Tom MacIntyre 187 Figure Fourteen: The Great Hunger by Tom MacIntyre 191 Figure Fifteen: The Bearded Lady by Tom MacIntyre 202 Figure Sixteen: Tom Hickey in The Misogynist by Michael Harding 249 Figure Seventeen: Patrick Mason, Noel Pearsonand Brian Friel 263 Acknowledgments This Thesis has been prepared under the careful supervision of Dr Alasdair Cameron,Senior Lecturer in Theatre Studies at the University of Glasgow. I am very grateful for the insight, humour and patient guidance Dr Cameron has brought to this project. I am extremely grateful to Manager, Martin Fahy, and the staff of the Abbey Theatre for allowing me considerable access to the Theatre's archives. In particular, this thesis would not have been possible without the support of the Abbey's Press Officer, Lucy McKeever, who, for some inexplicable reason has answered all my requests, given advice, arranged interviews, made coffee and supplied complimentary tickets, without once sugoesting that I drop through a hole and disappear for ever. This must have taken a lot of self-control or an amazingcapacity to seegood in people: probably both. I am also grateful to Tony Wakefield, for Abbey who sortedout arrangementsC) viewingco videos of productions Grateful acknowledgement is due to the many people who agreed to be interviewed for my research. A detailed list appearsin the Bibliography.z:1 Many went further than simply giving up their time. Fintan OToole and Joe Dowling were particularly supportive early on in the research and Thomas Kilroy and Carolyn Swift went out of their way to provide extensive material in support of what-they said. Tom MacIntyre was helpful in allowing, me access to the unpublished scripts of his plays and Jacinta Douglas at the Society for Irish Playwrights was an essential provider of information, out-of-print scripts and contacts. Long periods of researchin Dublin were madebearable by the generous hospitality of many people,including Claire Scannell, SeamusBrett, Eddie Smith, Deidre Fergus Casey-Smith Peter Devine. and 0 and, above all, I have been conscious of the support of ProfessorJan McDonald, John Caughie and other membersof staff within the Departmentof Theatre, Film and Television Studies. I am also grateful for the honest and caring support of fellow students: Christie Carson; Tom Maguire; Karen Marshalsay; Mia Stevensonand countless others. I am grateful for the objective encouragementgiven by my friends at Bretton Hall: Paul Cowen; Tony Green; Arthur Pritchard and Peter Harrop. Finally I wish to acknowledge the emotional support of both my father, David Francombe,and the irrepressibleand irreplaceablePhilomena MacNeil. 6 Introduction This thesis examines the development of a practical relationship between the playwright and the Abbey Theatre,Dublin. 1 In academic analysis of the Irish Dramatic Movement2 during the twentieth century primary considerationhas been given to the significance of the writer. D. E. S Maxwell statesin his critical history of Irish drama that "[a]t the heart of 'the matter and so attracting the emphasis are the playwrights", 3 an emphasis that has continued with Michael Etherton's study of the contemporary Irish theatre: "Such a focus acceptsthe continuing dominanceof authorial insights in the creation of a significant drama in Ireland. "4 Maxwell considers that the focus on writing has been at the expense of close consideration,of the actor or specific theatres and yet there is one theatre that is linked intrinsically to any analysis of the playwright: the Abbey Theatre. The names of the greatest twentieth-century Irish dramatists,Synge, O'Casey, Yeats, Friel, are spoken of in the samebreath as the theatrewhere each gained his reputation making certain, in turn, that the Abbey's reputation is assured. It is this historical link with the playwright that determines a belief that the Abbey's main function is that of a writer's theatre. Joe Dowling in recent years has stated that "before anything else, the Abbey Theatre is a writer's theatre;it has always been a writer's theatre: that is what its main function iS".5 This opinion is sharedby actor, critic and dramaturg The perimeters of this thesis are not exact. 1899 saw the opening of the Irish Literary Theatre, the precursor to the Abbey. The six years between then and the opening of the Abbey in 1904, saw the clear definition of the philosophies on play writing. The thesis closes with an examination of the Abbey during the 1980s and makes suggestions about the future of the relationship between the playwright and the Theatre. 2A self-imposed term, used by the early directors of the Abbey Theatre. First used as an academic definition by Una Ellis Fermor The Irish Dramatic Movement. (London: Methuen, 1939). 3 D. E. S. Maxwell. A Critical History of Modern Irish Drama 1891 1980. (Cambridge: Cambridge University Press,1984). p7. 4 Michael Etherton. ContemporaryIrish Dramatists. (London: Macmillan, 1989). pXV. 5 Joe Dowling. Interviewed in Dublin, 15 November 1991. 7 alike, associatedwith the Abbey today. The actor Tom Hickey, central to many new plays during the 1980s, seesnew drama as fundamental to what the Abbey contributes
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