DUBLIN BUSINESS SCHOOL SANDRA O'REILLY AN EXPLORATION OF FRANK ALLEN'S STATE OF THE NATION PLAYS THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS OF THE BA (HONS) FILM, LITERATURE AND DRAMA SUPERVISOR: DR PAUL HOLLYWOOD 30 MAY 2013 1 TABLE OF CONTENTS ACKNOWLEDGMENTS ....................................................................................................... 3 LIST OF FIGURES ................................................................................................................. 4 ABSTRACT .............................................................................................................................. 5 INTRODUCTION.................................................................................................................... 7 CHAPTER ONE: A DRAMATURGICAL FRAMEWORK ............................................ 10 1.1 A Historical Framework.................................................................................................. 10 1.2 Frank Allen: The Man Behind the Drama .................................................................... 11 1.3 Conclusion ........................................................................................................................ 18 CHAPTER TWO: ALLEN’S CONTEMPORARY PLAYS ............................................. 20 2.1 In the Picture & Poet's Corner ....................................................................................... 21 2.2 Mr Blueberry .................................................................................................................... 23 2.3 Oh When The Hoops ....................................................................................................... 28 2.4 Conclusion ........................................................................................................................ 32 CHAPTER THREE: ALLEN’S HISTORY PLAYS .......................................................... 34 3.1 Twelve Days in May ......................................................................................................... 35 3.2 Seven Lives for Liberty ................................................................................................... 42 3.3 Conclusion ........................................................................................................................ 49 CONCLUSION ...................................................................................................................... 50 2 REFERENCES ....................................................................................................................... 55 APPENDICES ........................................................................................................................ 57 Appendix 1: Permission from the playwright ..................................................................... 57 Appendix 2: Cafe Slices: Mr Blueberry ............................................................................... 58 Appendix 3: Seven Lives for Liberty ................................................................................... 89 Appendix 4: Twelve Days in May ....................................................................................... 128 Appendix 5: Oh When The Hoops ..................................................................................... 216 Appendix 6: Cafe Slices: Poet's Corner and In the Picture ............................................. 326 3 ACKNOWLEDGMENTS I would like to thank my supervisor, Paul Hollywood for his support and guidance throughout this project. I am extremely grateful for the support, patience and kindness from my colleagues in Youthreach Transition Centre, Parnell Square. Dermot Cummins, my friend and my inspiration, you are remarkable. For those that I lost along the way, you are all stars in heaven. A huge debt of gratitude is owed to Frank Allen, one of the most extraordinary, talented man I have ever encountered, whose breathtaking talent is only equalled by his humility and true wish to give something back to the people of Dublin. To my parents John and Kate Kelly and my family for your encouragement and support, thank you. Most of all, I would like to thank my husband Joe for his support, advice and unwavering patience throughout the long arduous road of academic study and research. Your belief in me is inspirational. Thank you all so much I am forever in your debt. 4 LIST OF FIGURES Figure 1: Mr Blueberry (2011) Bill Quinlan & Dave Douglas ............................................................. 28 Figure 2: Twelve Days in May (2009) - A young James Connolly addressing a workers rally ............ 40 Figure 4: Twelve Days in May (2009) - Young James Connolly wearing his British army uniform ... 41 Figure 6: Seven Lives for Liberty (2010) - Padraig Pearse addresses his Court Martial ....................... 47 Figure 7: Seven Lives for Liberty (2010) - Eamonn Ceannt playing the uileann pipes ......................... 48 Figure 8: Seven Lives for Liberty (2010) - Thomas Mac Donagh at St. Enda's School ........................ 48 5 ABSTRACT This thesis sets out to explore the dramatic work of Frank Allen, a Dublin director and playwright. As this is the first time his work has been examined in academic discourse, this thesis makes a huge contribution to the evolution of social drama on an Irish national stage. Following on from the introduction which explains the motivation behind the project, chapter one begins by positioning Allen's dramatic work within the framework of national theatre. This chapter also explores the man behind the drama, where he was born and grew up, the inspirational forces which enable his creative talents to be realised and the vision he has to supply the marginalised people of Dublin with drama that is about them and for them. Chapter two analyses Allen's contemporary plays, extrapolating the social message he wants the audience to extract from Cafe Slices and Oh When the Hoops. Through these works, he underlines the hardships suffered by the working class in a unique visual interpretation of Dublin's socio-cultural distinctiveness. Chapter three examines Allen's plays, Twelve Days in May and Seven Lives for Liberty. These are works which hark back to Ireland's revolutionary period, giving a more rounded picture of iconic heroes, such as James Connolly and Padraig Pearse. He transforms them from iconic patriots to authentic Irishmen through his illustration of the suffering endured by men who were poets, teachers, musicians and writers, as well as the anguish their families underwent. In doing so, he brings the past into the present moment, revealing deep truths about the foundation, as well as the continuing negligence of the state. In providing a reflective study of contemporary and historical Ireland, this thesis shows how Frank Allen's social theatre exemplifies class distinction, sociology and a unique, inherent insight into Irish issues previously denied articulation. 6 'O WORDS are lightly spoken,' Said Pearse to Connolly, 'Maybe a breath of politic words Has withered our Rose Tree; Or maybe but a wind that blows Across the bitter sea.' "It needs to be but watered,' James Connolly replied, "To make the green come out again And spread on every side, And shake the blossom from the bud To be the garden's pride.' "But where can we draw water,' Said Pearse to Connolly, "When all the wells are parched away? O plain as plain can be There's nothing but our own red blood Can make a right Rose Tree.' W.B. Yeats. The Rose Tree 7 INTRODUCTION From the earliest beginnings of drama, theatre has always been and continues to be an instrument which is used by the dominant class to subjugate the proletariat. Agusto Boal contends "all theatre is necessarily political, because all the activities of man are political and theatre is one of them" (Boal: 2000, p ix). As well as being used by the dominant class, Boal believes that the subjugated can subvert this manipulation through identifying the limits imposed on them. Theatre can and should be used as a way to create social protest, allowing the audience to recognise their position in society and look for change. In contemporary Ireland, one could question why this type of theatre is relevant. Financial depression, recession, governmental mismanagement and capitalist greed result in a country falling apart, literally held together by the shoestrings of the ordinary man on the street. Austerity, higher taxes, pay cuts and a significantly diminishing public sector generates a need, a vital requisite for those silent voices to be heard, recognised and acted on. Frank Allen, director and playwright, creates a platform for those voices to be heard. His theatre is social, yet also political in the sense that it invites audiences to recognise social injustices and act on them. Who is Frank Allen? Frank Allen was born in Dublin and comes from a working class background. A modest, unassuming man, he writes theatre that he hopes will bring communities together and encourage them to discover their history. Through his theatre company Tobar Na Run, he gives individuals an opportunity to flourish, to express themselves and engage in drama which is otherwise not opened to them. This thesis sets out to explore the works of Frank Allen, one of Ireland's unsung dramatists who, until now, has not been considered academically. Allen's life, his inspirations and his dramaturgy are epistemologically analysed for the first time, identifying recurring themes, nuances and tropes within his drama. In doing so, this thesis will offer an insight and in-depth understanding into his style of writing, highlighting his love of the common man and his need 8 to call attention to the plight of a country that is teetering on the brink of financial and social collapse. This thesis begins by briefly placing Allen's work within the context of national theatre. He revives the ideologies laid down by literary giants, such as Yeats, Synge and O'Casey, who endeavoured to reinvent Irish representation through creating a theatre which accurately embodied Irish social and cultural mores. Following on from that, an exploration of the dramatist is presented, delving into the main influences and forces which compelled him to write, ascertaining his vision of what theatre should be and discovering the inspiration behind his productions. An analysis of Allen's contemporary plays examines how Cafe Slices and Oh When the Hoops motivate audiences to accept or affect change through holding up a mirror to contemporary life. He emphasises Dublin's unique social and cultural identity, expressing the hardships from individuals who are sometimes in harmony and other times out of sync with their place in society. Allen's State of the Nation plays, Twelve Days in May and Seven Lives for Liberty are interrogated in the following chapter, showing how Allen focuses on these iconic figures as real people, who had real families, desires and fears. In doing so, he creates a unique window into Ireland's past, retaining the deep truth that lies behind the foundation of the Nation of Ireland, effortlessly balancing these heroes while simultaneously exploring the past in ways which enable his audience to learn about the present. Frank Allen's theatre is not found in the hallowed halls of the Abbey or the Gate, or even in the more mass-oriented Gaiety or Olympia theatres. Instead, one is more likely to find these productions in the lesser known locations of Liberty Hall or The Crypt. Nevertheless, his work astounds those who are introduced and immersed in it. His theatre literally sings, not only to the individuals taking part in a workshop but also to the audiences who recognise themselves and are enthralled. His plays are not mere entertainment. Full of 9 substance and meaning, one always finds something that can be taken from them, whether that is a slice of Dublin life in a little cafe or a history lesson that goes much deeper than school lessons or books. His theatre is a theatre about Dublin people, for Dublin people and, by a Dubliner. This thesis will prove how Allen's work, whether intentional or not, is even more relevant today in society's uncertainty of the future. Prior to a study of his plays, it is necessary to locate him in a National context, remove the mask of distance and delineate the man behind the drama.