Overview

Sean O' Casey (1880-1964) was a celebrated but reclusive Irish playwright, writer, and individual. If you crossed him, you went on his enemies' list and suffered his wrath in writings and mutterings, whether public or private. In 1958 he banned all productions of his plays in Ireland when the Archbishop of Dublin refused to offer a votive mass at a festival in which works of his and James Joyce were being aired. However, he was also enigmatic, a professed Communist and hater of organized religion and dogma but who seemed centered in a faith in God and (most) people, but especially in life. It was life and family he celebrated in his plays, books and personal life, and though some of his works are tragic in nature, they do not celebrate tragedy, but simply point to the gusto in life. Brooks Atkinson's Sean O'Casey: From Times Past pulls from Atkinson's numerous reviews of O'Casey with whom he shared a friendship and mutual admiration. With the assist of O'Casey scholar Robert G. Lowery, Atkinson filters these celebrations of life which O'Casey draws with an artist's verve and brush, highlighting in O'Casey's plays, essays and autobiographical works the stings and joys that are part of every one of us.

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Reviews

Sean O'Casey: From Times Past. By Brooks Atkinson. Edited by R. G. Lowery. London: Macmillan Press, 1982. O'Casey Annual No. 1. Edited by R. G . Lowery. London: Macmillan Press; Dublin: Gill and Macmillan, 1982. From the time that Sean O'Casey was first staged in America in 1926, Brooks Atkinson, who had recently become drama critic of the New York Times, took an interest in his work, and reviewed all of his publications and his stage plays, often devoting two or more notices to the same work. Robert Lowery has shown imagination in gathering these reviews together in one volume....So the reader follow an acquaintanceship with the dramatist over a period of nearly forty year of development, first through the mind of an objective observer, then-after the two men met-of a friend and critic, and becomes acquainted at the same time with the critic himself. Atkinson's approach is consistent in its integrity. He was always widely informed, keeping in touch with the Irish Statesman and other Irish publications for news of Irish dramatic events even before seeing his first O'Casey play. His analyses are honest and thorough, interpreting themes before examining details, judging drama first and foremost as an expression of life that must affect the audience if it is to be effective. His style is lucid and attractive and leisurely. He was prepared to alter his judgment. The critique of the book of Within the Gates differed considerably from his review of the live performance. Perhaps the most interesting point to emerge in this collection is that he (Atkinson), and perhaps most of the American public, took to the play written in exile, rather than to the three early classics which are preferred in Ireland. These last, he felt, put too much emphasis on the laying on of horror-though to the average Dubliner they revive iconic calamities of those times poignantly, in the familiarity of local dialect. He found Juno and the Paycock lacking in form, The Plough and the Stars ragged, and loosely contrived; and felt O'Casey was not sufficiently controlled as a dramatist, particularly in his dialogue though he loved his earthiness and true-to-life characters. (Atkinson) admired 'realism' and 'expressionism' in The Silver Tassie, the play rejected in Dublin, and never highly thought of there; and he was to extol the poetic fantasy of his later work. He could still be critical, but was always generous, in his support of the writer; and it is apparent that they developed a deeply sympathetic relationship. His retrospective essay, reprinted from the O'Casey Reader, which he edited in 1968, is evidence of this, especially in his discussion of the playwright's evangelistic tendencies and the personal nature of his communism. Robert Lowery ...(and fellow) O'Casey scholars, David Krause, Bernard Bentock, and Ronald Ayling (are) editorial advisors (with Lowery writing the introduction). The essays range from historical, interpretative and purely critical commentaries to reviews of recent books about O'Casey and an exhaustive bibliography of O'Casey items, published in, or around, 1980.... Violet O'Valle provides a lively essay on Cock-a-Doodle Dandy and Henry Kosek analyses the three versions of Red Roses for Me . The rest of the material is mainly biographical, somewhat flimsy, but pleasant reading. Hilary Pyle The Review of English Studies The Oxford Academic February 1985

Author Information

JUSTIN BROOKS ATKINSON (November 28, 1894 - January 14, 1984) was an American theatre critic. He worked for The New York Times from 1925 to 1960. In his obituary, the Times called him the theater's most influential reviewer of his time. A war correspondent during World War II, he received the Pulitzer Prize in 1947 for his work as the Moscow correspondent for the Times. Atkinson attended Harvard University where he began writing for the Boston Herald. He graduated from Harvard in 1917, and worked at the Springfield Daily News and the Boston Evening Transcript, where he was assistant to the drama critic. In 1922, he became the editor of the New York Times Book Review, and in 1925 the drama critic. Atkinson married Oriana MacIlveen, a writer, in August 1926. On the drama desk, Atkinson quickly became known for his commitment to new kinds of theater-he was one of the first critical admirers of Eugene O'Neill-for his interest in all kinds of drama, including off-Broadway productions. In 1928, he said of the new play The Front Page, No one who has ground his heels in the grime of a police headquarters press room will complain that this argot misrepresents the gentlemen of the press. In 1932 Atkinson embraced the witty, direct writing style that became his hallmark. His reviews were reputed to have the power to make or break a new stage production: for example, his panning in 1940 of Lawrence Riley's Return Engagement led to that comedy's closure after only eight performances, this despite the fact that Riley's previous comedy, Personal Appearance, had lasted for over 500 performances on Broadway. Atkinson, who was dubbed the conscience of the theater, was not comfortable with the influence he wielded over the Broadway box office. After the bombing of Pearl Harbor in December 1941, Atkinson requested a reassignment to war coverage, and the New York Times sent him to the front lines as a war correspondent in China, where he covered the second Sino-Japanese war until 1945. While in China, he visited Mao Tse-Tung in Yenan and was captivated by Mao, writing favorably on the Chinese Communist Party (CCP) movement, and against the Nationalist government of Chiang Kai-shek, which he saw as reactionary and corrupt. After visiting Yenan, he wrote that the CCP political system was best described as an agrarian or peasant democracy, or as a farm labor party. Atkinson viewed the Chinese Communist Party as Communist in name only and more democratic than totalitarian; the Times effusively titled his article Yenan, a Chinese Wonderland City. After the end of the war, Atkinson stayed only briefly in New York before being sent to Moscow as a press correspondent; his work as the Moscow correspondent for the Times earned him a Pulitzer Prize for Correspondence in 1947. After returning from the Soviet Union, Atkinson was reassigned to the drama desk, where he remained until his retirement in 1960. He is given much credit for the growth of Off-Broadway into a major theatrical force in the 1950s, and has been cited by many influential people in the theatre as crucial to their careers. David Merrick's infamous spoof ad for Subways Are For Sleeping-in which he hired seven ordinary New Yorkers who had the same names as prominent drama critics to praise his musical-had to wait for Atkinson's retirement, because Merrick could not find anyone with the right name. There was only one Brooks Atkinson in New York City. Atkinson was elected a Fellow of the American Academy of Arts and Sciences in 1960. He came briefly out of retirement in 1965 to write a favorable review of Man of La Mancha; his review was printed on the first page of the show's original souvenir program. After his retirement, he became a member of The Players who organized a tribute dinner for Atkinson's 80th birthday which was attended by Arthur Miller, Elia Kazan, and other prominent actors and playwrights. Robert G. Lowery was born on July 21, 1941 in Taylor County, Texas. In the 1970s he attended Hosftra University in New York, where he received Bachelor's and Master's degrees in European history. In 1974, while still attending Hofstra as an undergraduate, Lowery founded The Sean O'Casey Review, which ran for eight years, from 1974 to 1982. His other works include Sean O'Casey Centenary Essays (co-edited with David Krause, 1980); Essays on Sean O'Casey's Autobiographies: Reflections Upon the Mirror (as editor, 1981); Sean O'Casey's Autobiographies: An Annotated Index (1983); A Whirlwind in Dublin: The Plough and the Stars Riots (1984); My Very Dear Sean, George Jean Nathan's Letters to Sean O'Casey (as co-editor with Patricia Angelin, 1985); and An O'Casey Annual 1-4 (as editor, 1982-1985). He has served as the editor of numerous publications including Ais Eiri: The Magazine of Irish-America, the ACIS Newsletter, and the Irish Literary Supplement.

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