Contents: Mixed Marriage; Jane Clegg; John Ferguson; Boyd's Shop; Friends and Relations

Hegemony and Fantasy in Irish Drama, 1899-1949 offers a theoretically innovative reconsideration of drama produced in the Irish Renaissance, as well as an engagement with non-canonical drama in the under-researched period 1926-1949.

Although Micheál mac Liammóir is best known as an actor and, with Hilton Edwards, founder of Dublin's Gate Theatre, he was also an artist and stage and costume designer of great talent and an accomplished playwright. The present selection contains five of his plays as well as some of his writings 'On Plays and Players,' and a bibliographical checklist. Contents: Where Stars Walk, Ill Met by Moonlight, The Mountains Look Different, The Liar, and Prelude in Kazbek Street

Best known as a novelist and man of letters, George Moore (1852-1933) is the author of such works as Esther Waters, A Drama in Muslin, The Untilled Field, The Brook Kerith, and his masterpiece, Hail and Farewell. Edward Martyn (1859-1923) was a distant cousin of Moore's, and, for a time, the two were close friends. Martyn, a man of considerable wealth, devoted his energies to a wide variety of activities, particularly the Church and political activism. His interest in playwriting, like Moore's, was of a secondary nature. Nevertheless, the two pooled and concentrated their talents to make important contributions at a critical juncture of the Irish literary renaissance. In 1899, aiming to provide a platform for the work of serious native dramatists, Martyn, W. B. Yeats, and Lady Gregory together founded the Irish Literary Theatre, Martyn soon brought Moore on board to lend his experience and notoriety to the venture. The great success of the Theatre's first season was Martyn's The Heather Field, republished here, which later enjoyed brief revivals in England, Germany, and the United States. Top billing in the second season was to have gone to Martyn's fast-paced, caustic satire, The Tale of the Town, but Yeats thought the play crude and not at all suitable for a serious, literary theater. When Moore reluctantly agreed, Martyn turned the play over to them to do with as they wished. Moore then rewrote it as The Bending of the Bough. Here the plays are published together for the first time. This volume also includes Moore's The Strike at Arlingford, The Passing of the Essenes, and The Coming of Gabrielle. This last is based on his correspondence with an Austrian countess he never met, and much of the dialogue in the play is taken directly from her letters. Martyn's Maeve, written for the Irish Literary Theatre, and An Enchanted Sea, a short lyrical play first produced in 1904, are also found here. The plays in this volume were selected by David B. Eakin and Michael Case, who have contributed a critical introduction. Helpful bibliographical checklists of Moore's and Martyn's works, both published and unpublished, are also included.

Samuel J. Waddell (1878-1967), who took on the stage-name Rutherford Mayne when he embarked on a theatrical career, was the most prolific, versatile, and successful playwright that the Irish Literary Revival in Ulster brought forth. In the course of his career as a dramatist, from 1906 to 1934, he wrote thirteen plays -- ten plays for the Ulster Literary Theatre, one for the Dublin-based Theatre of Ireland, and two for the Abbey Theatre. Especially his early realist Ulster peasant plays were very successful, among them The Drone (1908), the most popular Irish folk comedy of the first half of the twentieth century. He also acted a great number of main parts in plays of his own and of other writers, to great acclaim, mainly in Belfast and Dublin but also on tours to England and Scotland, from 1904 until late in his life. His plays disappeared from the stage in the 1950s, and, when he died, his artistic achievements were almost forgotten. Wolfgang Zach's introduction to this volume is the first attempt to give a lengthy survey of Mayne's life and works, with particular emphasis on a discussion of all his plays, their critical reception, stage history, and specific features. As to the selection of Rutherford Mayne's plays contained in this volume, seven of his eight published plays -- his most important ones -- have been included in this edition. Two important prose pieces (one of Mayne's essays and an interview), have been added to his reprinted plays as they provide direct insight into his personality, views, and career. In the biographical and critical section of the Checklist appended to this book, publications have also been included that do not solely concentrate on RutherfordMayne but are of great significance to any student of his life and plays.

Michael Joseph Molloy (1917-1994) was born and died in Milltown, Co. Galway. He originally intended to join the priesthood but was struck down by tuberculosis. It was during the long periods he spent in the hospital that he started writing plays, having been inspired by a childhood visit to the Abbey Theatre, Dublin. His first play, Old Road, was produced at the Abbey in 1943, as were The Visiting House in 1946 and The King of Friday's Men in 1948. When the old theatre burned down and the company moved to the Queen's Theatre, his The Wood of the Whispering and The Paddy Pedlar were produced there, followed by The Will and the Way, The Right Rose Tree, and The Wooing of Duvesa. After the company's return to the rebuilt theatre in 1966 his plays -- with their romantic plots and Syngean dialogue -- did not find favor with the new Abbey, and, with the exception of Petticoat Loose in 1979, none of his later works were performed professionally. This selection contains The King of Friday's Men, The Paddy Pedlar,,The Wood of the Whispering, Daughter from Over the Water, Petticoat Loose, and the previously unpublished The Bachelor's Daughter. The volume includes a bibliographical checklist of Molloy's writings.