The Theatre of Tom MacIntyre
Strays from the Ether
Will be published approx. on 14. August 2019
Book
Paperback/Softback
350 pages
978-1-78874-866-7 (ISBN)
Description
This long overdue anthology captures the soul of MacIntyre's dramatic canon - its ethereal qualities, its extraordinary diversity, its emphasis on the poetic and on performance - in an extensive range of visual, journalistic and scholarly contributions from writers and theatre practitioners.
More details
Series
Edition
New edition
Language
English
Place of publication
Oxford
United Kingdom
Target group
Professional and scholarly
Edition type
New edition
Illustrations
42 Illustrations
Dimensions
Height: 225 mm
Width: 150 mm
Thickness: 21 mm
Weight
527 gr
ISBN-13
978-1-78874-866-7 (9781788748667)
Schweitzer Classification
Persons
Bernadette Sweeney is a theatre and performance practitioner and lecturer. She published Performing the Body in Irish Theatre with Palgrave Macmillan in 2008. She completed her PhD at Trinity College Dublin and lectures in drama and theatre studies at University College Cork and the University of Montana, U.S.
Marie Kelly was casting director at the Abbey Theatre between 2001 and 2006. She is currently completing a PhD on the work of Tom Mac Intyre at University College Dublin under a postgraduate scholarship from the Irish Research Council for the Humanities and Social Sciences.
Content
<P></P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P><B>
<P>CONTENTS</P>
<P>?</P>
<P>?</P></B><I>
<P>List of illustrations Acknowledgements</P></I>
<P>?</P><I>
<P>xvi xix</P>
<P></P></I><B>
<P>Preface/Reamhra</P></B>
<P>Fiach Mac Conghail</P><B>
<P>Introduction: </B>'Strays from the ether'</P>
<P>Bernadette Sweeney Marie Kelly</P>
<P></P><B>
<P>Chapter 1: 'Someone opened a door ... And now the traffic's racin' ...'</P>
<P>?</P>
<P>A Vibrant Presence:</P>
<P>A Biography of Tom Mac Intyre's Work</P></B>
<P>Bernadette Sweeney</P><B>
<P>Introduction to <I>The Harper's Turn</P></B></I>
<P>Seamus Heaney</P><B>
<P>In Conversation with Tom Mac Intyre</P></B>
<P>Vincent Woods</P><B>
<P>Tom Mac Intyre: Border Country Bandit</P></B>
<P>Tom Hickey</P>
<P>?</P><I>
<P>xxiii</P>
<P>?</P></I>
<P>1</P>
<P></P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>23</P>
<P>?</P>
<P>?</P>
<P>43</P>
<P>?</P>
<P>44</P>
<P>?</P>
<P>55</P>
<P>x The Theatre of Tom Mac Intyre</P>
<P></P><B>
<P>Chapter 2: 'a conspirator's gleam'</P>
<P>?</P>
<P>The Long Surrender: Finding a Theatrical Voice </B>65</P><B>
<P>Through the Plays of the 1970s</P></B>
<P>Ben Francombe</P><B>
<P>Theatre Review: 'Salome gets Modern Treatment' </B>81</P><B>
<P>(<I>The Irish Independent</I>, 10 May 1977)</P></B>
<P>Desmond Rushe</P><B>
<P>Theatre Review: <I>Doobally/Black Way </B></I>81</P><B>
<P>(<I>The Irish Times</I>, 9 October 1979)</P></B>
<P>David Nowlan</P><B>
<P>Theatre Review: 'A Nimble Mime at the Peacock' </B>82</P><B>
<P>(<I>The Evening Press</I>, August 1976)</P></B>
<P>Michael Sheridan</P><B>
<P>Chapter 3: 'Down the ruckety pass'</P>
<P>A Director's Note </B>85</P>
<P>Patrick Mason</P><B>
<P></B><B>On Design </B>87</P><B>
<P></B><B>Environmental Design and the Plays of Tom Mac Intyre</B></P>
<P>Bronwen Casson</P><B>
<P></B><B>Environmental Design in the Dublin Theatre </B>89</P>
<P>John Barrett</P><B>
<P>Theatre Review: 'A Great Poem Without Words' </B>93</P><B>
<P>(<I>The Irish Press</I>, 11 May 1983)</P></B>
<P>Gerard Stembridge</P><B>
<P>Theatre Review: 'Images of Fragmented Ireland' </B>94</P><B>
<P>(<I>The Sunday Independent</I>, 20 July 1986)</P></B>
<P>Colm Toibin</P>
<P></P><B>
<P>Theatre Review: <I>The Great Hunger</P></I>
<P>(<I>The Guardian</I>, 13 August 1986)</P></B>
<P>Michael Billington</P><B>
<P>Theatre Review: 'People Hungering After Humanity' (<I>The Guardian</I>, 27 November 1986)</P></B>
<P>Nicholas de Jongh</P><B>
<P>In the Beginning Was ... the Image ... (<I>Theatre Ireland, </I>1984<I>)</P></B></I>
<P>Kathryn Holmquist</P><B>
<P>Programme Note: 'The Hurt Mind' (Peacock Theatre, 1986)</P></B>
<P>Dermot Healy</P><B>
<P>Programme Note:</P>
<P>'The Ghost, the Gate and the Go Beyant' (Peacock Theatre, 1986)</P></B>
<P>Michael Harding</P><B>
<P>Oedipal Desire in Mac Intyre's <I>The Great Hunger</I>: A Palaeo Postmodern Perspective</P></B>
<P>Catriona Ryan</P><B>
<P>'What Shall I Wear, Darling, to <I>The Great Hunger</I>?'</P></B>
<P>Paul Durcan</P>
<P>?</P>
<P>?</P>
<P>95</P>
<P></P>
<P>?</P>
<P>96</P>
<P></P>
<P>?</P>
<P>98</P>
<P>?</P>
<P>?</P>
<P>105</P>
<P></P>
<P>?</P>
<P>109</P>
<P></P>
<P>?</P>
<P>?</P>
<P>111</P>
<P></P>
<P>?</P>
<P>125</P>
<P>?</P>
<P>?</P><B>
<P>Chapter 4: 'Warming to the fray'</P>
<P></P>
<P>Theatre Review: <I>The Bearded Lady</P></I>
<P>(<I>Theatre Ireland</I>, Autumn 1984)</P></B>
<P>Joseph Mc Minn</P><B>
<P>Theatre Review: <I>The Bearded Lady</P></I>
<P>(<I>The Irish Press</I>, 12 September 1984)</P></B>
<P>Peter Thompson</P><B>
<P>In Conversation with Brid Ni Neachtain</P></B>
<P>Marie Kelly</P>
<P>?</P>
<P>133</P>
<P></P>
<P>?</P>
<P>135</P>
<P></P>
<P>?</P>
<P>136</P>
<P></P><B>
<P>The Lunatics in the Basement:</P>
<P>Madness in Mac Intyre</P></B>
<P>Dermod Moore</P><B>
<P>New Dimensions: Spaces for <I>Play </I>in the Theatre of Tom Mac Intyre</P></B>
<P>Marie Kelly</P><B>
<P>Theatre Review: <I>Rise Up Lovely Sweeney</P></I>
<P>(<I>The Sunday Tribune, </I>15 September 1985)</P></B>
<P>Fintan O'Toole</P><B>
<P>Programme Note: <I>Dance for your Daddy </I>'Must you Play the Piano in your Nightgown?' (Peacock Theatre, 1987)</P></B>
<P>Dermot Healy</P><B>
<P>Theatre Review: <I>Dance for your Daddy</P></I>
<P>(<I>The Irish Times</I>, 3 March 1987)</P></B>
<P>David Nowlan</P><B>
<P>Scenes from <I>Snow White</P></B></I>
<P>Tom Mac Intyre</P><B>
<P>Programme Note: 'Chomh geal le Sneachta' (Peacock Theatre, 1988)</P></B>
<P>Nuala Ni Dhomhnaill</P><B>
<P>Theatre Review: <I>Snow White</P></I>
<P>(<I>Theatre Ireland</I>, Summer 1988)</P></B>
<P>David Calvert</P><B>
<P>Theatre Review: <I>Snow White</P></I>
<P>(<I>The Irish Times</I>, 28 June 1988)</P></B>
<P>David Nowlan</P><B>
<P>Performing Women in Tom Mac Intyre's Drama</P></B>
<P>SarahJane Scaife</P><B>
<P>Tom Mac Intyre and Theatre of the Image</P></B>
<P>Daniel Shea</P>
<P>?</P>
<P>139</P>
<P>?</P>
<P>?</P>
<P>145</P>
<P></P>
<P>?</P>
<P>165</P>
<P>?</P>
<P>?</P>
<P>167</P>
<P></P>
<P>?</P>
<P>?</P>
<P>170</P>
<P>?</P>
<P>?</P>
<P>171</P>
<P>?</P>
<P>176</P>
<P></P>
<P>?</P>
<P>178</P>
<P></P>
<P>?</P>
<P>180</P>
<P>?</P>
<P>?</P>
<P>181</P>
<P>?</P>
<P>198</P>
<P>?</P><B>
<P>Chapter 5: 'a gradle o' stories'</P>
<P></P>
<P>Programme Note: <I>Kitty O'Shea</P></I>
<P>(Peacock Theatre, 1990)</P></B>
<P>Medbh McGuckian</P><B>
<P>Theatre Review: <I>Kitty O'Shea</P></I>
<P>(<I>Theatre Ireland</I>, October 1990)</P></B>
<P>Victoria White</P><B>
<P>Theatre Review: <I>Fine Day for a Hunt</P></I>
<P>(<I>The Galway Advertiser</I>, 23 July 1992)</P></B>
<P>Jeff O'Connell</P><B>
<P>Theatre Review: <I>Chickadee</P></I>
<P>(<I>The Sunday Tribune</I>, 23 May 1993)</P></B>
<P>Jocelyn Clarke</P><B>
<P>Programme Note:</P>
<P>'The Night Before the Morning After' (Peacock Theatre, 1994)</P></B>
<P>Ciaran Carson</P><B>
<P>'Between two languages ...'</P></B>
<P>Olwen Fouere</P><B>
<P>Images of <I>Sheep's Milk on the Boil</P></B></I>
<P>Amelia Stein</P><B>
<P>Second Opinion: <I>Sheep's Milk on the Boil</P></I>
<P>(<I>The Irish Times</I>, 2 March 1994)</P></B>
<P>Fintan O'Toole</P><B><I>
<P>Good Evening, Mr Collins</P></B></I>
<P>Christina Hunt Mahony</P><B>
<P>Theatre Review: <I>Good Evening, Mr Collins</P></I>
<P>(<I>The Irish Times</I>, 12 October 1995)</P></B>
<P>David Nowlan</P><B>
<P>Programme Note: 'The Bandit Pen' (Peacock Theatre, October 1995)</P></B>
<P>Marina Carr</P>
<P>?</P>
<P>215</P>
<P>?</P>
<P>?</P>
<P>218</P>
<P></P>
<P>?</P>
<P>220</P>
<P>?</P>
<P>?</P>
<P>221</P>
<P>?</P>
<P>?</P>
<P>223</P>
<P></P>
<P>?</P>
<P>?</P>
<P>224</P>
<P>?</P>
<P>226</P>
<P>?</P>
<P>237</P>
<P>?</P>
<P>?</P>
<P>239</P>
<P>?</P>
<P>244</P>
<P></P>
<P>?</P>
<P>245</P>
<P></P><B>
<P>Stories Happen to Storytellers</P></B>
<P>Karen Ardiff</P><B>
<P>A Conversation with Carolyn Swift, Tom Mac Intyre, and John Scott on <I>You Must Tell the Bees</P></I>
<P>(UCD Forum, 1996)</P></B>
<P>Deirdre Mulrooney</P><B>
<P>'The Magic of Dissonance'</P>
<P>(<I>The Irish Times</I>, 24 September 1996)</P></B>
<P>Helen Meany</P><B>
<P>Theatre Review: <I>The Chirpaun</P></I>
<P>(<I>The Irish Times</I>, 4 December 1997)</P></B>
<P>Victoria White</P><B>
<P>Theatre Review: <I>Caoineadh Airt Ui Laoghaire</P></I>
<P>(<I>The Irish Times</I>, 20 April 1998)</P></B>
<P>Diarmuid Johnson</P><B>
<P>Programme Note: <I>Caoineadh Airt Ui Laoghaire</P></I>
<P>(Peacock Theatre, 1998)</P></B>
<P>Alan Titley</P><B>
<P>Choreographing <I>Cuirt an Mhean Oiche</P></B></I>
<P>Finola Cronin</P>
<P>?</P>
<P>247</P>
<P>?</P>
<P>256</P>
<P></P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>263</P>
<P>?</P>
<P>?</P>
<P>265</P>
<P></P>
<P>?</P>
<P>266</P>
<P>?</P>
<P>?</P>
<P>267</P>
<P></P>
<P>?</P>
<P>270</P>
<P></P>
<P>?</P><B>
<P>Chapter 6: 'between the worlds'</P>
<P></P>
<P>Theatre Review: <I>The Gallant John-Joe</P></I>
<P>(<I>The Irish Times</I>, 29 November 2001)</P></B>
<P>Fintan O'Toole</P><B>
<P>Ballet in the Bog</P>
<P>(<I>The Guardian</I>, 23 February 2005)</P></B>
<P>John Mahoney</P><B>
<P>Mapping the World of <I>Bridgie Cleary</P></B></I>
<P>Joe Vanok</P>
<P>?</P>
<P>279</P>
<P></P>
<P>?</P>
<P>280</P>
<P>?</P>
<P>?</P>
<P>285</P>
<P></P><B>
<P>Theatre Review: <I>What Happened Bridgie Cleary</P></I>
<P>(<I>The Irish Times</I>, 29 May 2005)</P></B>
<P>Fintan O'Toole</P><B>
<P>Theatre Review: <I>What Happened Bridgie Cleary</P></I>
<P>(<I>Irish Theatre Magazine</I>, 19 May 2005)</P></B>
<P>Patrick Lonergan</P><B>
<P>Theatre Review: <I>What Happened Bridgie Cleary</P></I>
<P>(<I>The Guardian</I>, 29 April 2005)</P></B>
<P>Karen Fricker</P>
<P>?</P>
<P>298</P>
<P>?</P>
<P>?</P>
<P>299</P>
<P></P>
<P>?</P>
<P>301</P>
<P></P>
<P><B>
<P>Anarchic and Strange: <I>Only an Apple</B></I></P>
<P></P>
<P></P>
<P>302</P>
<P>Bernadette Sweeney and Marie Kelly Cartmell</P>
<P>with</P>
<P>Selina</P>
<P></P><B>
<P>Theatre Review: <I>Only an Apple</P></I>
<P>(<I>Irish Theatre Magazine</I>, 6 May 2009)</B></P>
<P></P>
<P></P>
<P>314</P>
<P>Patrick Lonergan</P>
<P></P>
<P></P>
<P></P><B>
<P>Letters to the Editor</B></P>
<P></P>
<P></P>
<P>316</P>
<P></P>
<P>Eilish MacCurtain Pearse Augustine Martin Sebastian Barry</P><B><I>
<P>The Hurt Mind </B></I>(1985) Tom Mac Intyre</P>
<P></P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>321</P>
<P>?</P><I>
<P>Notes on the Contributors 323</P>
<P>Index 327</P></I>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P><B>
<P>CONTENTS</P>
<P>?</P>
<P>?</P></B><I>
<P>List of illustrations Acknowledgements</P></I>
<P>?</P><I>
<P>xvi xix</P>
<P></P></I><B>
<P>Preface/Reamhra</P></B>
<P>Fiach Mac Conghail</P><B>
<P>Introduction: </B>'Strays from the ether'</P>
<P>Bernadette Sweeney Marie Kelly</P>
<P></P><B>
<P>Chapter 1: 'Someone opened a door ... And now the traffic's racin' ...'</P>
<P>?</P>
<P>A Vibrant Presence:</P>
<P>A Biography of Tom Mac Intyre's Work</P></B>
<P>Bernadette Sweeney</P><B>
<P>Introduction to <I>The Harper's Turn</P></B></I>
<P>Seamus Heaney</P><B>
<P>In Conversation with Tom Mac Intyre</P></B>
<P>Vincent Woods</P><B>
<P>Tom Mac Intyre: Border Country Bandit</P></B>
<P>Tom Hickey</P>
<P>?</P><I>
<P>xxiii</P>
<P>?</P></I>
<P>1</P>
<P></P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>23</P>
<P>?</P>
<P>?</P>
<P>43</P>
<P>?</P>
<P>44</P>
<P>?</P>
<P>55</P>
<P>x The Theatre of Tom Mac Intyre</P>
<P></P><B>
<P>Chapter 2: 'a conspirator's gleam'</P>
<P>?</P>
<P>The Long Surrender: Finding a Theatrical Voice </B>65</P><B>
<P>Through the Plays of the 1970s</P></B>
<P>Ben Francombe</P><B>
<P>Theatre Review: 'Salome gets Modern Treatment' </B>81</P><B>
<P>(<I>The Irish Independent</I>, 10 May 1977)</P></B>
<P>Desmond Rushe</P><B>
<P>Theatre Review: <I>Doobally/Black Way </B></I>81</P><B>
<P>(<I>The Irish Times</I>, 9 October 1979)</P></B>
<P>David Nowlan</P><B>
<P>Theatre Review: 'A Nimble Mime at the Peacock' </B>82</P><B>
<P>(<I>The Evening Press</I>, August 1976)</P></B>
<P>Michael Sheridan</P><B>
<P>Chapter 3: 'Down the ruckety pass'</P>
<P>A Director's Note </B>85</P>
<P>Patrick Mason</P><B>
<P></B><B>On Design </B>87</P><B>
<P></B><B>Environmental Design and the Plays of Tom Mac Intyre</B></P>
<P>Bronwen Casson</P><B>
<P></B><B>Environmental Design in the Dublin Theatre </B>89</P>
<P>John Barrett</P><B>
<P>Theatre Review: 'A Great Poem Without Words' </B>93</P><B>
<P>(<I>The Irish Press</I>, 11 May 1983)</P></B>
<P>Gerard Stembridge</P><B>
<P>Theatre Review: 'Images of Fragmented Ireland' </B>94</P><B>
<P>(<I>The Sunday Independent</I>, 20 July 1986)</P></B>
<P>Colm Toibin</P>
<P></P><B>
<P>Theatre Review: <I>The Great Hunger</P></I>
<P>(<I>The Guardian</I>, 13 August 1986)</P></B>
<P>Michael Billington</P><B>
<P>Theatre Review: 'People Hungering After Humanity' (<I>The Guardian</I>, 27 November 1986)</P></B>
<P>Nicholas de Jongh</P><B>
<P>In the Beginning Was ... the Image ... (<I>Theatre Ireland, </I>1984<I>)</P></B></I>
<P>Kathryn Holmquist</P><B>
<P>Programme Note: 'The Hurt Mind' (Peacock Theatre, 1986)</P></B>
<P>Dermot Healy</P><B>
<P>Programme Note:</P>
<P>'The Ghost, the Gate and the Go Beyant' (Peacock Theatre, 1986)</P></B>
<P>Michael Harding</P><B>
<P>Oedipal Desire in Mac Intyre's <I>The Great Hunger</I>: A Palaeo Postmodern Perspective</P></B>
<P>Catriona Ryan</P><B>
<P>'What Shall I Wear, Darling, to <I>The Great Hunger</I>?'</P></B>
<P>Paul Durcan</P>
<P>?</P>
<P>?</P>
<P>95</P>
<P></P>
<P>?</P>
<P>96</P>
<P></P>
<P>?</P>
<P>98</P>
<P>?</P>
<P>?</P>
<P>105</P>
<P></P>
<P>?</P>
<P>109</P>
<P></P>
<P>?</P>
<P>?</P>
<P>111</P>
<P></P>
<P>?</P>
<P>125</P>
<P>?</P>
<P>?</P><B>
<P>Chapter 4: 'Warming to the fray'</P>
<P></P>
<P>Theatre Review: <I>The Bearded Lady</P></I>
<P>(<I>Theatre Ireland</I>, Autumn 1984)</P></B>
<P>Joseph Mc Minn</P><B>
<P>Theatre Review: <I>The Bearded Lady</P></I>
<P>(<I>The Irish Press</I>, 12 September 1984)</P></B>
<P>Peter Thompson</P><B>
<P>In Conversation with Brid Ni Neachtain</P></B>
<P>Marie Kelly</P>
<P>?</P>
<P>133</P>
<P></P>
<P>?</P>
<P>135</P>
<P></P>
<P>?</P>
<P>136</P>
<P></P><B>
<P>The Lunatics in the Basement:</P>
<P>Madness in Mac Intyre</P></B>
<P>Dermod Moore</P><B>
<P>New Dimensions: Spaces for <I>Play </I>in the Theatre of Tom Mac Intyre</P></B>
<P>Marie Kelly</P><B>
<P>Theatre Review: <I>Rise Up Lovely Sweeney</P></I>
<P>(<I>The Sunday Tribune, </I>15 September 1985)</P></B>
<P>Fintan O'Toole</P><B>
<P>Programme Note: <I>Dance for your Daddy </I>'Must you Play the Piano in your Nightgown?' (Peacock Theatre, 1987)</P></B>
<P>Dermot Healy</P><B>
<P>Theatre Review: <I>Dance for your Daddy</P></I>
<P>(<I>The Irish Times</I>, 3 March 1987)</P></B>
<P>David Nowlan</P><B>
<P>Scenes from <I>Snow White</P></B></I>
<P>Tom Mac Intyre</P><B>
<P>Programme Note: 'Chomh geal le Sneachta' (Peacock Theatre, 1988)</P></B>
<P>Nuala Ni Dhomhnaill</P><B>
<P>Theatre Review: <I>Snow White</P></I>
<P>(<I>Theatre Ireland</I>, Summer 1988)</P></B>
<P>David Calvert</P><B>
<P>Theatre Review: <I>Snow White</P></I>
<P>(<I>The Irish Times</I>, 28 June 1988)</P></B>
<P>David Nowlan</P><B>
<P>Performing Women in Tom Mac Intyre's Drama</P></B>
<P>SarahJane Scaife</P><B>
<P>Tom Mac Intyre and Theatre of the Image</P></B>
<P>Daniel Shea</P>
<P>?</P>
<P>139</P>
<P>?</P>
<P>?</P>
<P>145</P>
<P></P>
<P>?</P>
<P>165</P>
<P>?</P>
<P>?</P>
<P>167</P>
<P></P>
<P>?</P>
<P>?</P>
<P>170</P>
<P>?</P>
<P>?</P>
<P>171</P>
<P>?</P>
<P>176</P>
<P></P>
<P>?</P>
<P>178</P>
<P></P>
<P>?</P>
<P>180</P>
<P>?</P>
<P>?</P>
<P>181</P>
<P>?</P>
<P>198</P>
<P>?</P><B>
<P>Chapter 5: 'a gradle o' stories'</P>
<P></P>
<P>Programme Note: <I>Kitty O'Shea</P></I>
<P>(Peacock Theatre, 1990)</P></B>
<P>Medbh McGuckian</P><B>
<P>Theatre Review: <I>Kitty O'Shea</P></I>
<P>(<I>Theatre Ireland</I>, October 1990)</P></B>
<P>Victoria White</P><B>
<P>Theatre Review: <I>Fine Day for a Hunt</P></I>
<P>(<I>The Galway Advertiser</I>, 23 July 1992)</P></B>
<P>Jeff O'Connell</P><B>
<P>Theatre Review: <I>Chickadee</P></I>
<P>(<I>The Sunday Tribune</I>, 23 May 1993)</P></B>
<P>Jocelyn Clarke</P><B>
<P>Programme Note:</P>
<P>'The Night Before the Morning After' (Peacock Theatre, 1994)</P></B>
<P>Ciaran Carson</P><B>
<P>'Between two languages ...'</P></B>
<P>Olwen Fouere</P><B>
<P>Images of <I>Sheep's Milk on the Boil</P></B></I>
<P>Amelia Stein</P><B>
<P>Second Opinion: <I>Sheep's Milk on the Boil</P></I>
<P>(<I>The Irish Times</I>, 2 March 1994)</P></B>
<P>Fintan O'Toole</P><B><I>
<P>Good Evening, Mr Collins</P></B></I>
<P>Christina Hunt Mahony</P><B>
<P>Theatre Review: <I>Good Evening, Mr Collins</P></I>
<P>(<I>The Irish Times</I>, 12 October 1995)</P></B>
<P>David Nowlan</P><B>
<P>Programme Note: 'The Bandit Pen' (Peacock Theatre, October 1995)</P></B>
<P>Marina Carr</P>
<P>?</P>
<P>215</P>
<P>?</P>
<P>?</P>
<P>218</P>
<P></P>
<P>?</P>
<P>220</P>
<P>?</P>
<P>?</P>
<P>221</P>
<P>?</P>
<P>?</P>
<P>223</P>
<P></P>
<P>?</P>
<P>?</P>
<P>224</P>
<P>?</P>
<P>226</P>
<P>?</P>
<P>237</P>
<P>?</P>
<P>?</P>
<P>239</P>
<P>?</P>
<P>244</P>
<P></P>
<P>?</P>
<P>245</P>
<P></P><B>
<P>Stories Happen to Storytellers</P></B>
<P>Karen Ardiff</P><B>
<P>A Conversation with Carolyn Swift, Tom Mac Intyre, and John Scott on <I>You Must Tell the Bees</P></I>
<P>(UCD Forum, 1996)</P></B>
<P>Deirdre Mulrooney</P><B>
<P>'The Magic of Dissonance'</P>
<P>(<I>The Irish Times</I>, 24 September 1996)</P></B>
<P>Helen Meany</P><B>
<P>Theatre Review: <I>The Chirpaun</P></I>
<P>(<I>The Irish Times</I>, 4 December 1997)</P></B>
<P>Victoria White</P><B>
<P>Theatre Review: <I>Caoineadh Airt Ui Laoghaire</P></I>
<P>(<I>The Irish Times</I>, 20 April 1998)</P></B>
<P>Diarmuid Johnson</P><B>
<P>Programme Note: <I>Caoineadh Airt Ui Laoghaire</P></I>
<P>(Peacock Theatre, 1998)</P></B>
<P>Alan Titley</P><B>
<P>Choreographing <I>Cuirt an Mhean Oiche</P></B></I>
<P>Finola Cronin</P>
<P>?</P>
<P>247</P>
<P>?</P>
<P>256</P>
<P></P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>263</P>
<P>?</P>
<P>?</P>
<P>265</P>
<P></P>
<P>?</P>
<P>266</P>
<P>?</P>
<P>?</P>
<P>267</P>
<P></P>
<P>?</P>
<P>270</P>
<P></P>
<P>?</P><B>
<P>Chapter 6: 'between the worlds'</P>
<P></P>
<P>Theatre Review: <I>The Gallant John-Joe</P></I>
<P>(<I>The Irish Times</I>, 29 November 2001)</P></B>
<P>Fintan O'Toole</P><B>
<P>Ballet in the Bog</P>
<P>(<I>The Guardian</I>, 23 February 2005)</P></B>
<P>John Mahoney</P><B>
<P>Mapping the World of <I>Bridgie Cleary</P></B></I>
<P>Joe Vanok</P>
<P>?</P>
<P>279</P>
<P></P>
<P>?</P>
<P>280</P>
<P>?</P>
<P>?</P>
<P>285</P>
<P></P><B>
<P>Theatre Review: <I>What Happened Bridgie Cleary</P></I>
<P>(<I>The Irish Times</I>, 29 May 2005)</P></B>
<P>Fintan O'Toole</P><B>
<P>Theatre Review: <I>What Happened Bridgie Cleary</P></I>
<P>(<I>Irish Theatre Magazine</I>, 19 May 2005)</P></B>
<P>Patrick Lonergan</P><B>
<P>Theatre Review: <I>What Happened Bridgie Cleary</P></I>
<P>(<I>The Guardian</I>, 29 April 2005)</P></B>
<P>Karen Fricker</P>
<P>?</P>
<P>298</P>
<P>?</P>
<P>?</P>
<P>299</P>
<P></P>
<P>?</P>
<P>301</P>
<P></P>
<P><B>
<P>Anarchic and Strange: <I>Only an Apple</B></I></P>
<P></P>
<P></P>
<P>302</P>
<P>Bernadette Sweeney and Marie Kelly Cartmell</P>
<P>with</P>
<P>Selina</P>
<P></P><B>
<P>Theatre Review: <I>Only an Apple</P></I>
<P>(<I>Irish Theatre Magazine</I>, 6 May 2009)</B></P>
<P></P>
<P></P>
<P>314</P>
<P>Patrick Lonergan</P>
<P></P>
<P></P>
<P></P><B>
<P>Letters to the Editor</B></P>
<P></P>
<P></P>
<P>316</P>
<P></P>
<P>Eilish MacCurtain Pearse Augustine Martin Sebastian Barry</P><B><I>
<P>The Hurt Mind </B></I>(1985) Tom Mac Intyre</P>
<P></P>
<P>?</P>
<P>?</P>
<P>?</P>
<P>321</P>
<P>?</P><I>
<P>Notes on the Contributors 323</P>
<P>Index 327</P></I>