by lathouNational Theatre Live Hamlet Download Pdfl
mac liammirm’s involvement with the abbey, and his being called on to perform and direct plays there during the 1950s, also bring him to the fore at the national theatre during the same period (ricorso), as evidenced by his art. the first edition of playwrighting, published in 1964, gives us a detailed account of his contributions to the abbey, his directing of the company and even hints at the personality that made him so successful in the theatre (mac liammirm 1964, 3). interestingly, the irish component, which accounted for more than half of his total output as a playwright, included the most international of all his plays, the well of shades, in which he blended all the “ingredients” for the genre of romanticism, as he calls it (mac liammirm 1964, 1).
for these reasons, mac liammirm could easily have been made director of the national theatre. indeed, in his treatment of the abbey when they asked him to helped take over the appointment, he emphasized that this was an historical opportunity to help establish a theatre that would combine english and irish traditions (f. connell 2003). this way of thinking is reminiscent of bolly mackelflows understanding of the radicalism of the gate, especially as applied to the work and influence of the abbey. in any case, in his role at the national theatre, mac liammirm has supervised the growth of many a playwright and helped put dublin and its writing talent on the world stage.
two plays of mac liammirm’s, one english- and one irish-language, will be discussed in this course in great depth. they are, in order of their productions, guinness’s last day, and blodeuedd-an-fhillimin. the former is by far the most influential of the two, especially from the point of view of the national theatre, for, when it premiered in 1950, it attracted the kind of crowds not seen at the abbey since 1910. this is a play that will never go out of fashion as long as new generations of teenagers are still flocking to the theatres to catch a glimpse of the adventures of the earthy but romantic billy (see television song excerpt above). in blodeuedd, the romance is less evident, but the language is pure in its irish usage, and mac liammirms characters are nuanced and full of idiosyncrasies. more importantly, it includes many strong scenes in the original irish that invite the audience into the action of the play.
druids artistic director martin quinn, who has since been succeeded by conor mcpherson, recalled the interesting reflection that edwards offered on the different modes of theatrical expression in english and irish-language theatre in the days before the english language hegemony. edwards observations were based on impressions from first-hand experience as well as analysis of the differences between the respective dramatic genres of tragedy and comedy. edwards was particularly critical of the stylistic borrowings of irish-language theatre from english-language counterparts, in which he considered the irish tended to fall victim to the same heuristics as english. as he wrote in his essay on the irish language (chosen by the irish times as the irish writers most influential on twentieth-century writers, ed. fionnuala reddy [museum of ireland press, 1998]: 54-55),
all of the critics who have seen the new production of lear have emphasised the great strength of the opera-like synthesis of the play and score. but to me, the real strength of this production has been the overall clarity of the performances and the excellence of the production itself. in the early scenes, both of this versions of lear and in the earlier “synthetic” productions, the problems have tended to occur principally in the early “flashback” or “palimpsest” scenes, where some of the most powerful language has been mangled as memories were evoked in an off-key way. this was less of a problem in the present production, where not only the language but the plots and characters were once again brilliantly clear.
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