Michael Billington in his Guardian review points out the parallels between the two works. Both plays use an examination of family to make, “attack[s] on the destructive consequences of war”. While The Silver Tassie takes you to the battlefield For Services Rendered remains inside the family dynamic.
First performed in 1932 in the West End the play was not well received as its anti-war message was not popular at the time. The work received a handful of revivals, including a TV version by Granada in 1959. Howard Davies production is now bringing this play and its message back to the British stage.
“Nothing is more absurd in O’Casey’s 1923 play than the notion that art couldbe indifferent to politics. Set just three years earlier, itsnear-vaudevillian succession of intrusions leading towards something more shattering, was first performed during a vicious Civil War. It was a dangerous weapon itself, a tragedy played for laughs.”
This wonderful video by Near TV Productions is a record by the people of the East Wall of the celebrations they arranged to commemorated the 50th year of Sean O’Casey’s death on September the 18th 2014.
It is a fascinating piece that brings to life the time that Sean lived and worked in the area. The people of the Sean O’Casey Community Centre give readings from the autobiographies and act out scenes from the plays and autobiographies; well chosen and well acted.
It is very moving indeed to see. Thanks to Mairéad Ní Choísóig, all the people of the Sean O’Casey Community Centre and the East Wall for remembering Sean’s anniversary and filling it with life.
It was not unreasonable to expect that the Abbey would mark the [tenth] anniversary [of the Easter Rising] respectfully. Instead it presented Seán O’Casey’s The Plough and the Stars, which presented the Rising through the experiences of those who suffered most in Easter Week: the Dublin slum dwellers unwillingly thrust on to the frontline. And it suggested that, for them, the great event had brought nothing but deeper misery.
The article looks at how W.B. Yates defended the play and importance of the ability to accept failings and ambiguities as a mark of a mature nation.
The series of articles looks at many different artworks and their impact on Ireland and the wider world.
Rod Taylor, died at home in Los Angeles on January 7th at the age of 84. A strong leading man, he played many notable roles through his career including Johnny in the Sean O’Casey biopic Young Cassidy in 1965.
He played alongside many other great actors in notable films such as Giant, One Hundred and One Dalmatians, The Birds and Zabriskie Point.
Announcing his death Rod’s daughter Felicia Taylor said in a statement:
“My dad loved his work. Being an actor was his passion – calling it an honorable art and something he couldn’t live without.”