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The Shadow of a Gunman (Acting Edition), by Sean O'Casey
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- Sales Rank: #5063662 in Books
- Published on: 2013-07-04
- Original language: English
- Number of items: 1
- Dimensions: 8.50" h x .12" w x 5.51" l, .9 pounds
- Binding: Paperback
- 56 pages
About the Author
Sean O'Casey was born on March 30, 1880 in Dublin, Ireland. Other than the Dublin Trilogy, his many works include "The Star Turned Red", "The Silver Tassie", and "Purple Dust". He died on September 18, 1964.
Most helpful customer reviews
0 of 0 people found the following review helpful.
"What danger can there be in the shadow of a gunman?"
By Mary Whipple
When Minnie Powell, a resident of a Dublin tenement, makes this ironic statement to Donal Davoren, who is visiting his friend Seumas Shields, she is assuming that this poet-visitor is an IRA gunman, in hiding. It is 1920, and the Irish battle for independence has begun. Minnie, Seumas, and the other residents of the tenement all side with the rebels, and while Donal never says that he is with the IRA, neither does he work very hard to convince the residents otherwise.
Seumas, on the other hand, is actively involved with the rebels, using his work as a peddler of second-hand goods to make connections and carry information. Gunfire is constant at night, bombs go off, innocent citizens are killed, and the police raid neighborhood houses. During a disturbance that night, Minnie takes a bag of bombs, left under the bed by one of Seumas's friends, into her own room to protect Donal, to whom she is attracted, only to face the police in a raid.
The first of Sean O'Casey's "Dublin Trilogy" to be produced (followed by Juno and the Paycock in 1924 and The Plough and the Stars in 1926), this 1923 play is the work of a gifted but still inexperienced playwright. Walking the tight line between the absurd/satiric and the violent/tragic, the play has lovely dialogue but relatively little action onstage. Visitors come and go in Shields's tenement room, but most of the play consists of witty remarks, poetic commentary, and the dialogue of daily life--until gunfire breaks out in the street.
O'Casey establishes obvious contrasts between the poetry of Davoren and the grim reality of the "revolution," between the elegantly poetic statements of the always-sleepy Shields and the brutality of the police, between the love which Minnie offers and the political hatreds which dominate their lives, and between the men who engage in the chess game of rebellion and the women who often make the sacrifices. Though Davoren and Shields are interesting characters, the most dramatic events of the play take place offstage, as justice seems to get lost in the "excitement" of war. Mary Whipple
0 of 0 people found the following review helpful.
"What danger can there be in the shadow of a gunman?"
By Mary Whipple
When Minnie Powell, a resident of a Dublin tenement, makes this ironic statement to Donal Davoren, who is visiting his friend Seumas Shields, she is assuming that this poet-visitor is an IRA gunman, in hiding. It is 1920, and the Irish battle for independence has begun. Minnie, Seumas, and the other residents of the tenement all side with the rebels, and while Donal never says that he is with the IRA, neither does he work very hard to convince the residents otherwise.
Seumas, on the other hand, is actively involved with the rebels, using his work as a peddler of second-hand goods to make connections and carry information. Gunfire is constant at night, bombs go off, innocent citizens are killed, and the police raid neighborhood houses. During a disturbance that night, Minnie takes a bag of bombs, left under the bed by one of Seumas's friends, into her own room to protect Donal, to whom she is attracted, only to face the police in a raid.
The first of Sean O'Casey's "Dublin Trilogy" to be produced (followed by Juno and the Paycock in 1924 and The Plough and the Stars in 1926), this 1923 play is the work of a gifted but still inexperienced playwright. Walking the tight line between the absurd/satiric and the violent/tragic, the play has lovely dialogue but relatively little action onstage. Visitors come and go in Shields's tenement room, but most of the play consists of witty remarks, poetic commentary, and the dialogue of daily life--until gunfire breaks out in the street.
O'Casey establishes obvious contrasts between the poetry of Davoren and the grim reality of the "revolution," between the elegantly poetic statements of the always-sleepy Shields and the brutality of the police, between the love which Minnie offers and the political hatreds which dominate their lives, and between the men who engage in the chess game of rebellion and the women who often make the sacrifices. Though Davoren and Shields are interesting characters, the most dramatic events of the play take place offstage, as justice seems to get lost in the "excitement" of war. Mary Whipple
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