Nelson O'Ceallaigh Ritschel – författare

The Irish Renaissance encompassed one of the western world's most powerful dramatic movements. But most lists of productions have only included certain premieres, while ignoring all revivals and the productions of lesser-known theatres. This reference is a comprehensive list of all theatrical productions of the early modern Irish dramatic movement, including all premieres and revivals. The volume includes productions from the 1899 founding of the Irish Literary Theatre through the April 1916 Easter Rising, when British martial law significantly altered the course of Irish drama.Entries are provided for more than 1,000 productions, with each entry offering the play's title, author, producing organization, building, city, and dates of performance. The entries are grouped in chapters devoted to particular years and are arranged chronologically within each chapter. The chronological arrangement of the entries reveals the development of Irish theatre, while an extensive index allows alphabetical access to the contents. By including entries for all productions, the volume indicates that many plays that are now neglected were produced numerous times and were central to the drama of the period. This work will force scholars to reconsider the major plays of the period, due to the record of their revivals, and the importance of many neglected plays will now have to be reassessed.

George Bernard Shaw has always been regarded as a political provocateur and socialist with ideas that reflected a complicated public philosophy. Scholarship abounds on Shaw’s politics, but Nelson Ritschel’s compelling study is the first to explore how Shaw’s presence in Irish radical debate manifested itself not only through his direct contributions but also through the way he and his efforts were engaged by others--most notably by the socially liberal dramatist J. M. Synge and the socialist agitator James Connolly.Looking closely at such works as In the Shadow of the Glen, John Bull’s Other Island, Playboy of the Western World, and O’Flaherty, V.C. , Ritschel opens an important door on the hidden dialogue between these men. The result is a gripping, even suspenseful, narrative of the intellectual march to the Easter Uprising of 1916.

The 1920s London-Irish Theatre: A History documents, explores and interrogates the Irish theatre that was prevalent in London during the 1920s. This includes consideration of the movements that impacted 1920s London theatre, such as the influential repertory theatres of the first decade of the twentieth century, as well as the detailed history of the Irish Players. Each identified London-Irish production is discussed through contemporary theatre reviews from London newspapers and journals, and within the decade's historical context. Dramatists, their plays, actors, producers, and the physical theatres are all considered as extensively as evidence allows. Major productions, like those of Lennox Robinson's The White-Headed Boy, Sean O'Casey's Juno and the Paycock, and Bernard Shaw's Saint Joan with its distinct Irish echoes are considered, along with productions of George Shiels' Professor Tim and Bernard Duffy's The Counter Charm and more. Producers discussed include James Fagan and Charles Macdona, while considered actors include Sara Allgood, Maire O'Neill, Arthur Sinclair, Fred O'Donovan, Ellen O'Malley, Ethel O'Shea, and many more. This leads, for the first time, to a full portrait of the Irish theatre that was produced in London during the 1920s in not only the West End, but also in smaller London theatres and in suburban repertory theatres.

The 1920s London-Irish Theatre: A History documents, explores and interrogates the Irish theatre that was prevalent in London during the 1920s. This includes consideration of the movements that impacted 1920s London theatre, such as the influential repertory theatres of the first decade of the twentieth century, as well as the detailed history of the Irish Players. Each identified London-Irish production is discussed through contemporary theatre reviews from London newspapers and journals, and within the decade's historical context. Dramatists, their plays, actors, producers, and the physical theatres are all considered as extensively as evidence allows. Major productions, like those of Lennox Robinson's The White-Headed Boy, Sean O'Casey's Juno and the Paycock, and Bernard Shaw's Saint Joan with its distinct Irish echoes are considered, along with productions of George Shiels' Professor Tim and Bernard Duffy's The Counter Charm and more. Producers discussed include James Fagan and Charles Macdona, while considered actors include Sara Allgood, Maire O'Neill, Arthur Sinclair, Fred O'Donovan, Ellen O'Malley, Ethel O'Shea, and many more. This leads, for the first time, to a full portrait of the Irish theatre that was produced in London during the 1920s in not only the West End, but also in smaller London theatres and in suburban repertory theatres.

The 1920s London-Irish Theatre: A History documents, explores and interrogates the Irish theatre that was prevalent in London during the 1920s. This includes consideration of the movements that impacted 1920s London theatre, such as the influential repertory theatres of the first decade of the twentieth century, as well as the detailed history of the Irish Players. Each identified London-Irish production is discussed through contemporary theatre reviews from London newspapers and journals, and within the decade’s historical context. Dramatists, their plays, actors, producers, and the physical theatres are all considered as extensively as evidence allows. Major productions, like those of Lennox Robinson’s The White-Headed Boy, Sean O’Casey’s Juno and the Paycock, and Bernard Shaw’s Saint Joan with its distinct Irish echoes are considered, along with productions of George Shiels’ Professor Tim and Bernard Duffy’s The Counter Charm and more. Producers discussed include James Fagan and Charles Macdona, while considered actors include Sara Allgood, Maire O’Neill, Arthur Sinclair, Fred O’Donovan, Ellen O’Malley, Ethel O’Shea, and many more. This leads, for the first time, to a full portrait of the Irish theatre that was produced in London during the 1920s in not only the West End, but also in smaller London theatres and in suburban repertory theatres.

This book is an anthology focused on Shaw’s efforts, literary and political, that worked toward a modernizing Ireland. Following Declan Kiberd’s Foreword and the editor’s Introduction, the contributing chapters, in their order of appearance, are from President of Ireland Michael D. Higgins, Anthony Roche, David Clare, Elizabeth Mannion, Nelson O’Ceallaigh Ritschel, Aisling Smith, Susanne Colleary, Audrey McNamara, Aileen R. Ruane, Peter Gahan, and Gustavo A. Rodriguez Martin. The essays establish that Shaw’s Irishness was inherent and manifested itself in his work, demonstrating that Ireland was a recurring feature in his considerations. Locating Shaw within the march towards modernizing Ireland furthers the recent efforts to secure Shaw’s place within the Irish spheres of literature and politics.

This book is an anthology focused on Shaw’s efforts, literary and political, that worked toward a modernizing Ireland. Following Declan Kiberd’s Foreword and the editor’s Introduction, the contributing chapters, in their order of appearance, are from President of Ireland Michael D. Higgins, Anthony Roche, David Clare, Elizabeth Mannion, Nelson O’Ceallaigh Ritschel, Aisling Smith, Susanne Colleary, Audrey McNamara, Aileen R. Ruane, Peter Gahan, and Gustavo A. Rodriguez Martin. The essays establish that Shaw’s Irishness was inherent and manifested itself in his work, demonstrating that Ireland was a recurring feature in his considerations. Locating Shaw within the march towards modernizing Ireland furthers the recent efforts to secure Shaw’s place within the Irish spheres of literature and politics.     

This book is an anthology focused on Shaw’s efforts, literary and political, that worked toward a modernizing Ireland. Following Declan Kiberd’s Foreword and the editor’s Introduction, the contributing chapters, in their order of appearance, are from President of Ireland Michael D. Higgins, Anthony Roche, David Clare, Elizabeth Mannion, Nelson O’Ceallaigh Ritschel, Aisling Smith, Susanne Colleary, Audrey McNamara, Aileen R. Ruane, Peter Gahan, and Gustavo A. Rodriguez Martin. The essays establish that Shaw’s Irishness was inherent and manifested itself in his work, demonstrating that Ireland was a recurring feature in his considerations. Locating Shaw within the march towards modernizing Ireland furthers the recent efforts to secure Shaw’s place within the Irish spheres of literature and politics.

This book details the Irish socialistic tracks pursued by Bernard Shaw and Sean O’Casey, mostly after 1916, that were arguably impacted by the executed James Connolly. The historical context is carefully unearthed, stretching from its 1894 roots via W. B. Yeats’ dream of Shaw as a menacing, yet grinning sewing machine, to Shaw’s and O’Casey’s 1928 masterworks. In the process, Shaw’s War Issues for Irishmen, Annajanska, the Bolshevik Empress, The Tragedy of an Elderly Gentleman, Saint Joan, The Intelligent Woman’s Guide to Socialism and Capitalism, and O’Casey’s The Story of the Irish Citizen Army, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, and The Silver Tassie are reconsidered, revealing previously undiscovered textures to the masterworks. All of which provides a rethinking, a reconsideration of Ireland’s great drama of the 1920s, as well as furthering the knowledge of Shaw, O’Casey,and Connolly.

This book details the Irish socialistic tracks pursued by Bernard Shaw and Sean O’Casey, mostly after 1916, that were arguably impacted by the executed James Connolly. The historical context is carefully unearthed, stretching from its 1894 roots via W. B. Yeats’ dream of Shaw as a menacing, yet grinning sewing machine, to Shaw’s and O’Casey’s 1928 masterworks. In the process, Shaw’s War Issues for Irishmen, Annajanska, the Bolshevik Empress, The Tragedy of an Elderly Gentleman, Saint Joan, The Intelligent Woman’s Guide to Socialism and Capitalism, and O’Casey’s The Story of the Irish Citizen Army, The Shadow of a Gunman, Juno and the Paycock, The Plough and the Stars, and The Silver Tassie are reconsidered, revealing previously undiscovered textures to the masterworks. All of which provides a rethinking, a reconsideration of Ireland’s great drama of the 1920s, as well as furthering the knowledge of Shaw, O’Casey,and Connolly.

This book explores Bernard Shaw’s journalism from the mid-1880s through the Great War—a period in which Shaw contributed some of the most powerful and socially relevant journalism the western world has experienced. In approaching Shaw’s journalism, the promoter and abuser of the New Journalism, W. T. Stead, is contrasted to Shaw, as Shaw countered the sensational news copy Stead and his disciples generated. To understand Shaw’s brand of New Journalism, his responses to the popular press’ portrayals of high profile historical crises are examined, while other examples prompting Shaw’s journalism over the period are cited for depth: the 1888 Whitechapel murders, the 1890-91 O’Shea divorce scandal that fell Charles Stewart Parnell, peace crusades within militarism, the catastrophic Titanic sinking, and the Great War. Through Shaw’s journalism that undermined the popular press’ shock efforts that prevented rational thought, Shaw endeavored to promote clear thinking through the immediacy of his critical journalism. Arguably, Shaw saved the free press.

This book explores Bernard Shaw’s journalism from the mid-1880s through the Great War—a period in which Shaw contributed some of the most powerful and socially relevant journalism the western world has experienced. In approaching Shaw’s journalism, the promoter and abuser of the New Journalism, W. T. Stead, is contrasted to Shaw, as Shaw countered the sensational news copy Stead and his disciples generated. To understand Shaw’s brand of New Journalism, his responses to the popular press’ portrayals of high profile historical crises are examined, while other examples prompting Shaw’s journalism over the period are cited for depth: the 1888 Whitechapel murders, the 1890-91 O’Shea divorce scandal that fell Charles Stewart Parnell, peace crusades within militarism, the catastrophic Titanic sinking, and the Great War. Through Shaw’s journalism that undermined the popular press’ shock efforts that prevented rational thought, Shaw endeavored to promote clear thinking through the immediacy of his critical journalism. Arguably, Shaw saved the free press.