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By John O'Riordan

An intensive consultant and research of playwright Sean O'Casey's works - performs and Playlets- through John O'Riordan. Touches on 23 of his O'Casey's works.

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JOXER: The formal plot is rooted in the continuous fount of words and endless, bibulous rhetoric. The Boyle family lives in a Dublin tenement during the Troubles. The work-shy 'Captain' and 'dryland sailor' - self-spoken 'procrastinator an' prognosticator' spends his days idling with his crony, the fawning, foxy, 'shouldershruggin', mendaciousJoxer, usually tucked up in one of Dublin's 'snugs', or tap-room sheltered retreats (the city's equivalent of Synge's country shebeens). While they engage in idle and fruitless posturings in a bar-haze of semi-transparent reality,Juno Boyle- so named because she was born in June, married in June and her son, Johnny, was born inJune; and she is truly the living embodiment of the 'venerable ox-eyed' wife of Jupiter, of Greek mythological renown (as queen of the ten em en ts, special protectress of marriage and of suffering womanhood) -she alone keeps temerarious hold on a tenuous household.

What do I care The Shadow rif a Gunman 29 for the working men. Am I depending on them? Did they ever give me anything. Damn them, and you, too'). Minnie, alone, subscribes to a consistent ideal, even though her ideal remains false. She resembles those like Juno and Bessie in successive plays, who accomplish deeds of courage, without prate or preposterous badinage. ) O'Casey's notion of poetic heroism matches Whitman's- as expressed in the American Poet's lineAlways the procreant urge of the world from Song rif Myself, crystallised, in O'Casey's own belief, in the expression in The Green Crow (his pungent, self-styled 'nest oflds and Trends'): 'The artist's place is to be where life is, active life, found in neither ivory tower nor concrete shelter'.

East German radio broadcast a centennial dramatisation, directed by Helmut Hellstorff, as did the BBC, with Bryan Murray and Alan Devlin in the leads. The play has also been performed in cities as diverse as Warsaw (1955) and Teheran (1980). A Gaelic version appeared in 1940 at Galway's Taibhdhearc Theatre, directed by Walter Macken. Published translations are available in French, German, Italian, Japanese, Roumanian, Russian, Persian and Polish (details of which, and those referred to at the conclusion of each subsequent chapter, can be found in Ronald Ayling and Michael J.

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