48bfeb4632d49 Juno and the Paycock- Teachers Resource 2008 Online PDF

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Juno and the Paycock by Sean O’Casey – Teacher’s Resource 2008

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Juno and the Paycock

By Sean O’Casey

2008 Production

The Association of Regional Theatres N.I. & Cork Opera

House.

Teacher’s Resource

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Introduction

This accompanying teacher resource pack is complied with a view to offer extra information about this production of Juno and the Paycock. It has a range of student worksheets with a vision of

placing the production in a learning context and an ability to reflect and to build upon the theatre experience.

Included is detail from the play, its themes, through to annotating a

script and pictures of the model of the set featured in the production. Additional information has been included in the booklet

such as the breakdown of what it takes to tour a production of Juno and the Paycock, the director’s vision for the play and

biographies of the designers and some of the cast.

Please find enclosed on the back page a copy of this teacher’s resource on CD.

We hope that you find this a valuable resource.

Judith Pillow

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Index

Section Detail Page number 1) Juno and the Paycock by Sean O’Casey

- Sean O’ Casey - Characters - Summary of Juno

and the Paycock - Themes

4 - 10

2) Production notes

- Notes that are intended for the students to take to the performance and includes aspect that they can work on prior to seeing the production.

11-15

3) Back in the class

- Costume character and set.

- Annotating the script - Exploring the text.

16- 27

4) What was involved in touring Juno and the Paycock 2008

- Cast list - Props list - Tour expenditure

breakdown. - Director’s Vision - Biographies

28 - 36

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Sean O’Casey lived in the Slums of Dublin

for 40 years

O’Casey first play was The Shadow of a Gunman,

performed on the Abbey theatre stage in 1923. This was followed by Juno and

the Paycock in1924 and The Plough and the Stars in 1926. These plays are famously known as the

Dublin trilogy.

Other playwrighting credits include:-

- Red Roses for Me - The End of the Beginning

- Cock-A-Doodle Dandy

O’ Casey moved to England in 1926, when Theatre Director W.B.

Yeats refused his production of The Silver

Tassie in 1927 in the Abbey theatre.

Born: 30th March

1880

Sean O’Casey was born into a Protestant family

and named John O’Casey. He later

changed his name to Sean.

O’Casey’s father died when he was

young which lead to the poverty situation

that O’Casey was raised in.

In 1964 O’Casey lifted the ban on the performance of

his plays in Ireland, so Juno and the Paycock could be performed at the Abbey

Theatre

Died: 18th September

1964

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Characters

Character

Notes Notes

‘Captain’ Jack Boyle

Juno Boyle

Jack’s Wife

Mary Boyle Johnny Boyle

Their children

Joxer Daly

Jack’s Friend

Mrs Maisie Madigan

‘Needle’ Nugent

Tailor

Residents

in

the

tenement

Mrs. Tancred

Jerry Devine

Charlie Bentham

School Teacher & law student

Two Irregulars

Coal-Block Vendor

Sewing-Machine Man

Two furniture Removal Men

Two Neighbours

. Source: Adapted from O’Casey: 1988: 95

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Summary Dublin 1922: Set in the apartment of a two-room Tenancy belonging to the Boyle Family within a tenement house in Dublin. Juno is the long suffering wife of ‘Captain’ Jack Boyle. Jack and his old friend Joxer Daly, spend more time avoiding work than they do trying to find it. Jack’s unwillingness to provide for his family leaves Juno in a position where she has to run the household, is the breadwinner and fighting a losing battle trying to install morals into the household. Johnny Boyle, their son was left injured and in a nervous state because he received a bullet during the Easter Rising Rebellion of 1916. His nervous mind set heightens when he learns that Robbie Tancred was killed because of information received, information that Johnny had provided to the authorities, betraying his comrade. Mary has delusions of grandeur, it is through education and reading she has an aspiration for better things, this clouds her judgment of male suitors and she soon finds herself in trouble because of it. Jerry Devine, a trades- union organizer was disregarded by Mary in favor of school teacher and law student Charles Bentham, who would be more able to aid her in leaving her tenement life behind. Bentham informs the Boyle family they are about to inherit a legacy from a relative. The family stretches their credit to the upper most limit on expensive furniture and clothes while they are waiting for the money to come through. However, the Boyle family learns after two months of this spending spree that the legacy is uncollectable due to Bentham’s clumsiness in drafting the will. Bentham leaves Mary who then discovers she is pregnant with his child. Jack is horrified and wants to disown her, much to Juno’s anger.

The tragic tale does not end here, Johnny’s betrayal of his comrade is discovered and Juno is summoned by the police to identify her son’s body.

Juno leaves with Mary to go to her sister’s house and to leave Jack to deal with the situation he has created.

True to form Jack Boyle and his friend Joxer remain drunk while all this occurs and return home to find no one there and all of his new possessions have gone.

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Themes

War

Tenement

living

Men

Religion

Reality and

Fantasy

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Juno and the Paycock Themes

Below are some of the themes in Juno and the Paycock by Sean O’Casey. They are intended as a point of reference and discussion after seeing the

production of Juno and the Paycock. Reality and fantasy Jack Boyle lives in a fantasy world, spending his days drinking with his friend Joxer Daly and avoiding responsibility and work at all costs, “Mrs Boyle It’s miraculous that whenever he scents a job in front of him, his legs begin to fail him!” O’Casey: 1924:79

It is only at the end of the play where the tragedy of his situation brings him crashing into reality. Mary is pregnant; and he wants to disown her, he has found out that the money from the will is not going to materialise and yet he didn’t tell his family but kept borrowing unable to pay his neighbours back. Jack could not cope with the reality of his situation which leads to him drinking with his friend and remain in the fantasy, unaware Juno has left to identify Johnny’s body and has taken Mary away from the situation.

Mary has delusions of grandeur and wants to better herself through books and education. Her aspiration to better herself leads her to sets her sights on a law student who seems to be an attractive prospect. Tragically due to an error on his part the inheritance was uncollectable; he abandoned Mary crushing her delusions of grandeur, and her fantasy of bettering herself and her situation and bringing her into real world, making her face her situation of tenement living and being a single mother in 1922. “Mary My poor little child that’ll have no father! Mrs Boyle It’ll have what’s far betther – it’ll have two mothers.”

O’Casey: 1924: 145-146 Juno is the moral powerhouse of the family and the only character who is rooted firmly in the real world; she is practical, and logical. She is left to pick up the pieces after their supposed inheritance, dealing with Mary’s out of wedlock pregnancy, and being called to identify her son’s body. Due to the fact that Juno wasn’t a dreamer and dealt with the harshness of her reality in everyday life she was able to deal with all of these situations with courage and strength. “Mrs Boyle Who has kep’ th’ home together for the past few years- only me? An’ who’ll have to bear th’ biggest part o’ this trouble but me? – but whinin’ an’ whingin’ isn’t goin’ to do any good.” O’Casey: 1924: 138

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Men The men in Juno and the Paycock could be described as the catalyst in the action ending in such tragedy, indeed the life of hardship that Juno has to contend with. All of the men in the play are presented as moral weaklings. Jack and his friend Joxer prefer to stay in the pub and get drunk as opposed to helping to provide for the family or looking for work in attempt to get them out of poverty. Joxer describes his friend as; Joxer Jacky Boyle, Esquire, infernal rouge an’ damned liar”

O’Casey: 1924: 132

Johnny’s betrayal of his comrade by providing information leads to him living in constant fear to the point he won’t leave the tenement or stay there alone.

“Johnny I won’t stop here by meself!” O’Casey:1924: 71

War Although the play is set after the Easter Rising of 1916 and during the Civil War, O’Casey does not glorify war. The two most prominent issues he deals are injury and betrayal, not honour and glory. Johnny was left wounded physically and emotionally after the Easter Rising, he also provided information about one of his comrades to the authorities which is why Johnny now lives his life in fear of being found out for his betrayal, as indeed at the end of the play he is.

By keeping the action within the play in the tenement flat, O’Casey forces us to look at everything from a domestic point of view, therefore we see how the theme of war affects people on this domestic family level for example Mrs Tancred dealing with her son’s death. “Juno He’s gone now- the Lord be good to him! God help his poor oul’ creature of a mother, for no matter whose friend or enemy he was, he was her poor son.”

O’Casey: 1924: 116 Religion Religion is a very prominent theme in the play. Juno’s faith remains true, even when she has been called to identify her son’s body. She states, “Mrs Boyle These things have nothin’ to do with the Will o’ God. Ah, what can God do agen the stupidity o’ men!” O’Casey:1924:145 Jack’s faith however may not be as true, when prays for his relative who had died Mary corrects him “Mary: Oh, father, that’s not Rest in Peace, that’s God save Ireland. Boyle: U-u-ugh, it’s all the same- isn’t it a prayer?”

O’Casey: 1924: 96

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Tenement living The Boyle family live in a two room tenement flat within a tenement house in

Dublin in 1922. Below are some photographs showing examples of tenement housing in

Dublin.

Henrietta Street Henrietta Street ‘Church Street tenements. RSAI:DDC47’

Source: Unknown Source: Unknown Source: Census: National Archives: online

.

‘A tenement room on Francis Street in 1913. (RSAI, DD, No. 56)’

Source: Census: National Archives: online.

Living Conditions in 1922 Dublin were poor. Thousand of families existed in one and two rooms within tenements. Tenement Housing came about in the 19th Century when the wealthy moved out to the suburbs leaving their large houses to be rented out to the Dublin poor in much less luxury and in overcrowded conditions.

Tenements in inner-city Dublin were filthy, overcrowded, disease-ridden, teeming with malnourished children and very much at odds with the elite world of colonial and middle-class Dublin. The decay of Dublin was epitomized by Henrietta Street, which had once been home to generations of lawyers, but was, by 1911, overflowing with poverty. An astonishing 835 people lived in 15 houses.

National Archives of Ireland: Online.

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Production notes

Use the following pages to allow the students to take along to the production and to

take notes to use as a guide when back in the classroom.

They will be useful for comparison with other students, and as a personal resource for

the exercises in this booklet and leading to preparation for examination

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Set

Do a quick sketch of the set.

Annotate with design notes, colours, exit and entrance points and anything

else you think is relevant.

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Character Notes

In the boxes below write down words that come to mind about the characters while watching the play. This will enable you to reflect on the characters and

performance and enable you as a class to share notes about how you saw the characters.

Juno Jack Boyle

Johnny

Joxer Daly

Mary

Jerry Devine

Maisie Madigan ‘Needle” Nugent

Charlie Bentham

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Costume Sketch the design of the costumes used in Juno and the Paycock as a point

of reference.

Consider: Style, colours, length of skirt etc.

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Lighting notes:

Sound notes:

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Back in the classroom

Costume,

character and set

Annotating

the script

Exploring the

text

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Costumes and Character

Student Exercise

Based on the costumes in the production, in the boxes provided sketch a costume for Juno and Jack and annotate the drawing.

Juno Description

Head and accessories

Upper body

Lower body

Footwear

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Jack Description

Head and accessories

Upper body

Lower body

Footwear

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The Set

Before a set is constructed it is designed in model form for many reasons including, the director’s and designer’s vision to practical matters such as ensuring the set will fit on all of the stages that Juno and the Paycock is

touring to, as some of the venues have larger stages than others. Below are photographs of the model set before construction.

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Annotating the Script

Attitude Comparison Table

Student Group Exercise

It is important to consider how times and attitudes have changed since 1922 when the play was set and today, taking into consideration some of the

themes use the table below to compare attitudes. In groups of 4 discuss and write your answers in the boxes. Fill in the last two boxes with issues your

group think are relevant to the play.

Religion

War

Men’s role

Living Conditions

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Annotating the script

Annotation is a useful tool for the director to write down how they imagined a scene to look and it is a helpful resource for the actors

to understand how a director wants a scene to be played. The following are some points to consider when annotating a

script.

What set is on

stage?

Characterisation

– use of voice

and physicality

Music and

lighting.

Execution of the

lines.

Entrance and

exit points.

What props are

needed and how

are they used?

What are stage

positions of the

set and the

characters?

What is happening

in the scene and

what is the

importance of the

extract in the

overall scene?

Who on stage?

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Student Exercise

Annotate the extract below from Juno and the Paycock. Extract Annotation

Source: O’ Casey, S. 1924:133-134

Johnny Is mother back from the doctor yet, with Mary?

Mrs Boyle enters; it is apparent from the serious look on her face

that something has happened. She takes off her hat and coat

without a word and puts them by. She then sits down near the fire,

and there is a few moments’ pause.

Boyle Well, what did the doctor say about Mary?

Mrs Boyle (in an earnest manner and with suppressed agitation)

Sit down here Jack, I’ve something to say to you . . . about Mary.

Boyle (awed by her manner) About … Mary?

Mrs Boyle Close that door there and sit down here.

Boyle (closing the door) More trouble in our native land is it?

(He sits down.) Well, what is it?

Mrs Boyle It’s about Mary.

Boyle Well, what about Mary – there’s nothing wrong with her, is

there?

Mrs Boyle I’m sorry to say there’s a gradle wrong with her.

Boyle A gradle wrong with her! (Peevishly) First Johnny an’ now

Mary; is the whole house goin’ to become a hospital! It’s not

consumption, is it?

Mrs Boyle No…. it’s not consumption … it’s worse.

Johnny Worse! Well, we’ll have to get her into some place ower

this, there’s no one to mind her here.

Mrs Boyle We’ll all have to mind her now. You might as well

know now, Johnny, as another time. (To Boyle) D’ye know what

the doctor said to me about her, Jack?

Boyle How ud I know – I wasn’t there, was I?

Mrs Boyle He told me to get her married at wanst.

Boyle Married at wanst! An’ why did he say the like o’ that?

Mrs Boyle Because Mary’s goin’ to have a baby in a short time.

Boyle Goin’ to have a baby! – my God, what’ll Bentham say

when he hears that?

Mrs Boyle Are you blind, man, that you can’t see that it was

Bentham that has done this wrong to her?

Boyle ( passionately) Then he’ll have to marry her, he’ll have to

marry her!

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Exploring the text

Character Profiles

Student Exercise

Ask students to write down 5 words which describe each of following characters.

Character Description

Juno

Jack

Johnny

Mary

Joxer

Charles

Jerry

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Hot Seating

Encourage students to think about the characters and their lives. Ask them to write down some questions they would like to know

about the characters and include them in this exercise.

Example Question

Who do you

regard as the

head of the

household?

What do you

contribute to

the running of

the household?

Which member

of your family

are you most

reliant on?

If you could

change one thing

about your life,

past or present,

what would it be?

What do you

think is your

best quality?

What is your

worst fear?

How do you

feel about

where you

live?

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Improvising the text

In groups ask students to take one extract from the play: the following are some exercises that are useful when improving text. Showcase the work that students produce as an exercise to see if

the other groups can distinguish what part of the play it is and assess why the chosen method is a good method to use when

improvising the text.

Some examples of methods include: -

Continue the

action

Tableaux

No words

Inner

Monologue

s

Stop

Think!

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Descriptions of Methods

Tableaux Actors can be asked to form an image using the play text as stimuli. Continue the Action

The director allows the scene to run, and at any point they can shout ‘Continue’ the actors then have to continue the scene with improvised speech and action. No words Actors run the scene until the director shouts ‘NO WORDS’ then the actors continue the scene without words! They can use sounds, gestures for example. Stop! Think!

The aim of this exercise is to stop the actor mid scene and give them an opportunity to think about what is happening in the scene. The rest of the scene can continue or the action can freeze frame and allow this actor to address the audience with their thoughts and feelings about the action which has happened. Inner Monologue

The director picks a point in the action for the actor to work from; the actor then starts this point of the scene improvising their words, using description of their thoughts feelings and actions.

Source: Adapted from Boal: 2002

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Touring production of Juno and the Paycock 2008.


Cast list

Performer Character

Garrett Keogh Jack Boyle Brid Ni Neachtain Juno Boyle

Joe Hanley Joxer Daly Diarmuid Noyes Johnny Boyle

Judith Roddy Mary Boyle Gerard Jordan Jerry Devine

Stella McCusker Mrs Tancred Noelle Brown Maisie Madigan

Gerard Howard ‘Needle’ Nugent Ruairi O’Gorman Charles Bentham

Andy Kelleher Immobiliser etc.

O’Casey’s Juno and the Paycock has 19 characters approximately

8 of those have little to say which is why in this production it is possible to double up on characters and have one actor play a

number of roles.

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Juno and the Paycock – Prop’s list. 1. Dresser 2. Picture of Virgin Mary ( approx 400w x 600h) 3. Bracket with crimson bowl for under above picture. 4. Floating motive light 5. Small 1mt old iron bed with mattress 6. Blankets and pillow ( Old ticking) 7. Coal box 8. Enamel bucket 9. Enamel Bed pan 10. Alarm clock 11. Galvanized bath 12. Small plain table 13. 3 simple bentwood chains 14. Worn out easy chair. 15. Teapot 16. Frying pan 17. Books ( for dresser) 18. Long handled shovel 19. tiny mirror 20. Newspaper ( possibly Independent Oct 1923) 21. Small parcel ( Sausages) Brown paper, string, greaseproof) 22. Plates 23. cups 24. Saucers 25. Knives and forks 26. Poker 27. Walking stick ( Bentham) 28. Walking stick ( Johnny)? 29. Upholstered Armchair ( 1920’s) 30. Cheap pictures 31. 2 Vases with Artificial flowers 32. A lamp ( Upmarket) for table 33. A good table 34. Old attaché case 35. Pen ( fountain type) 36. Clay pipes ( X3) 37. Tobacco tin or roll for same ( tobacco in grease proof paper will do) 38. Gramophone with removable horn 39. Records 78’s)for same 40. Coat / Hat stand 41. Bottle of stout 42. Bottle of Whiskey ( Jameson) 43. Candles 44. Candle sticks 45. Revolvers, holsters and belts 46. Sweeping brush.

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The following is a list of expenses that have to be considered when touring a production such as Juno and the Paycock.

Juno & The Paycock: Expenditure Rehearsals

Performers Weekly Salary Subs NICs Holiday Pay Weeks Total

5 3 3 CSM DSM ASM Subtotal £ -

Performance

Performers Weekly Salary Per Diems NICs Holiday Pay Weeks Total

5 4 2 CSM DSM ASM Subtotal £ -

Pre-Production Costs - Production Team Director Set Designer LX Designer Production Manager Costume Designer Casting Director Sound Designer Education Officer Administration (inc Cookstown Borough Council) £ - Forum Costs Subtotal £ -

Pre-Production Costs - Materials Set Construction Costumes / Wigs etc Furniture & Props Subtotal £ -

Marketing PR Launch £ - Artwork Print Educational Packs FOH Display Photography PR Rep Distribution Subtotal £ -

Sundries

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Insurance Auditions Scripts Travel & Accommodation

16 people x 7 days x 7 weeks touring

Haulage Subtotal £ -

Weekly Running Costs Cost Weeks Production Maintenance: Scenery, Costumes, LX etc 8 £ - Hires: Props, LX 8 £ - Distribution 8 £ - Travel 8 £ - Haulage 8 £ - Get-In / Get-Out costs £ - 8 £ - Subtotal £ -

Premium Payment Costs

TOTAL EXPENDITURE -

Contingency 1.5% £ -

GRAND TOTAL £ -

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Directors Vision Andrew Flynn “To have the opportunity to direct yet another Juno and the Paycock is both exhilarating and frightening. As a director I tend to work in an organic way, through a collaborative process with the cast, creative team and production crew. Thus, to outline in words my vision for any production is difficult. If I was honest I don’t believe in the notion of there being one leading vision that becomes executed. I believe that all good theatre is created between participants and that if directing this production, that the finished product would be one that is sculpted by all involved, that the design and rehearsal processes are one of investigation. This I believe makes for better and more exciting theatre. However, I do have firm thoughts on many aspects of the play and production that may help to give a clearer indication of what shape the production might take. In speaking about production I do know that a production should be epic and traditional. While it will have extensive use on Set, Lights, Sound, props, effects, I also feel that it is vital that any production serves the play and remains true to O’Casey’s vision and story. The play works best as O’Casey intended it. Therefore the production I would like to mount would be very definitely set in 1922. The production would show the danger of a country torn apart by civil war, a country that saw families divided by the treaty. A sense of bloodshed, fear and death should haunt the play. The production should highlight the social and economic state of Ireland at the time. The play is steeped with poverty and unemployment. This economic deprivation should be evident along with the appalling living conditions of tenement Dublin. To contrast with the stark images that I feel haunt the play, the production would also capture the enduring spirit of these people. Despite, the poverty and bloodshed that swept through the tenement Dublin, there was also a positive spirit and sense of community in these tenement flats.” In casting the play, I feel a production should focus on creating a strong ensemble company. In recent revivals the characters have all tended to be played slightly older than written. A new ensemble should be made up of actors that can play to the correct ages of the characters. Juno should be early to mid forties, Johnny and Mary should be early twenties, as should Jerry Devine, Bentham, the irregulars and Mobiliser. I would also see Boyle and Joxer as characters who could be played in the mid- forties range. This would add to the feckless nature of their characters as they both hold the strength and capability to work but prefer to idle their time in Foley’s or Ryan’s.”

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Biographies

Included below are the biographies of the designers as well as some of

the cast. Owen MacCárthaigh (Design and Set Builder) Design credits include: For Macnas: “An Táin”, “Bhuile Sibhne”; for Firclis “Site”: for Decadent/Town Hall Theatre: “The Weir”, “Someone who’ll watch over me” and “Translations”: for Townhall /Derry Forum/ Cork Opera House: “ TheLieutenant of Inishmore”. for An Taibhdhearc, “Jude” He has worked extensively for Galway Youth Theatre designing “Our Country’s Good, “The Coole Door,” “The Crucible”, Teacher”, “ Liar” , Talking to Terrorists”, “Tegas Verdas”,“Philadelphia here I come”,“Chatroom” and “Crestfall”.He designed the set for The Lyric Theatre’s current production “Pump Girl” which is presently touring Ireland.

Conleth White (Lighting Designer)

Conleth White has designed lighting for most of the major theatre companies in Ireland.

He has toured to Belgrade, Taiwan, Denmark and the UK with Big Telly's swimming-pool production of The Little Mermaid. He has been working on their latest water based show Sinbad. Also for Big Telly he lit The Country Boy, The Picture of Dorian Grey & Bog People (4 pieces based on the poems of Seamus Heany). Other recent lighting credits include A Night In November in Trafalgar Studio One & Olympia Dublin and The Interrogation of Ambrose Fogarty and HRT in the Grand Opera House Belfast (GBL Productions); The Boy Soldier & Riddley Walker (Red Kettle, Waterford); 1974, Days of Wine and Roses & The Hypochondiact (Lyric, Belfast); Dogshow in the Galway and Kilkenny Arts Festivals and set & lighting for Fido in the Dublin Fringe 07 (both by Garrett Keogh); Frozen (Tall Tales, Project Arts Centre, Dublin); The Duke of Hope (Irish tour, Tinderbox); The Liverpool Boat by Marie Jones & Maurice Bessman (Red Lead, Docker's Club, Belfast); Heroes With Their Hands In The Air (The Playhouse, Derry); Dublin Carol and Rita (Everyman Palace, Cork); To Have & To Hold (Kabosh, Belfast); The Townlands of Brazil (also in Teatr Polksi, Wroclaw),Walking the Road (also in Ieper, Belgium) and Our National Games for Axis-Ballymun and Macbeth in Crumlin Road Gaol for Replay;.

In 2006 he designed the set & lighting for the ART (NI) production of Hugh Leonard’s Da.

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Bríd Ni Neachtain (Juno) Bríd is a native of Galway and was member of the Abbey Theatre Company until 1999. Amongst her favourite productions were: Translations, Mary Makebelieve, Boss Grady’s Boys, The Mai, Lower Depths, Riders to the Sea, The Playboy of the Western World (Hong Kong Arts Festival) The Well of the Saints (Perth International Festival), The Great Hunger (Edinburgh Festival, London, Paris, New York, and Moscow). Bríd played Rose in the world premiere of Dancing at Lughnasa (Abbey Theatre, Royal National Theatre, End and Broadway). She appeared in Fishamble’s production of Consenting Adults and as the Mother/Witch in Handel and Gretel for Storytellers Theatre Company. More recently she appeared in Portia Coughlan directed by Brian Brady at the Peacock Theatre and most recently the role of Auntie Ah in Woman and Scarecow directed by Selina Cartmell at the Peacock Theatre, Dublin. She has also worked extensively with Taidhbhearc Na Gaillimhe, most notably in Cré Na Cille ( for which she was nominated for an Irish Times/ ESB Award for Best Actress, 2003) and more recently in feature film version of ‘Cre Na Cille’ as the central character Caitriona, directed by Robert Quinn for TG4/ Telegael for which she has been nominated for a Best Actress Award in the Irish Film and Television Awards 2008. Other Film and Television includes: Dying for a Drink (RTÉ), The Family (BBC/RTÉ), Ros Na Rún (Tyrone/ TG4), Lipservice(Brother Films/TG4), Clare sa Spéir & An t-é Ná Fuil Láidir (TG4) Garrett Keogh - (Jack Boyle) I trained with the Abbey Theatre School of Acting and was a member of the Abbey Company, where I played Johnny Boyle in Juno, The Covey in The Plough and the Stars, Donal Davoren in Shadow of a Gunman and The Socialist in Red Roses for Me. I toured with Shadow to Australia and New Zealand, and with the Gate production of Juno to Broadway. I have been lucky to have been in the first productions of new work by Tom Murphy, Frank McGuinness, Hugh Leonard and Bernard Farrell, among others. Personal favourites would be Translations (Abbey), Philadelphia Here I Come (Gaiety), Innocence (Gate), The Barbaric Comedies (Abbey and Edinburgh), Hedda Gabler (Abbey and West End) and Cavalcaders (Lyric). Film and TV includes Veronica Guerin, The Clinic, A Love Divided, the Bargain Shop, Double Carpet, The Last Furlong and Legend. Concentrating more on writing, in the last few years I have received a Stewart Parker/BBC Radio Drama Award, an RTE P. J. O’Connor Award, and an Arts Council Writer’s Bursary. I have directed my own work at the Galway, Kilkenny Festivals and at the Dublin Fringe. My most recent appearance was in my own play Setanta Murphy (part one) at Bewley’s Café Theatre.

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Stella McCusker - (Mrs Tancred) Previous appearances for the Abbey include, Philadelphia Here I Come, The Mai, Portia Coughlan, Tree Houses, Communion, For the Gate: Uncle Vanya, The House of Bernarda Alba and Juno and the Paycock on Broadway. Stella has had a long association with the Lyric Players, Belfast where she made her debut as Kate Hardcastle in She Stoops to Conquer. Other performances at the Lyric include The Glass Menagerie, A Streetcar Named Desire, The Good Natured Man, Pygmalion, The Memory of Water, Desert Lullaby and Ibsen’s Ghosts, which also played at the National Theatre, Oslo. Other theatre includes: The Alice Trilogy; for Druid, At the Black Pig’s Dyke (which toured to the World Theatre Festival, Toronto), The Loves of Cass McGuire, The Country Boy; for the Royal Exchange, Manchester, Donny Boy, The Beggar’s Opera, Electra; for the Almeida Theatre, London, Medea, Our Father; for the Royal Court London, Pygmies in the Ruins, Woman and Scarecrow; for the Royal Shakespeare Company, Roberto Zucco, Riders to the Sea Film and television includes Dear Sarah (Jacobs Award: Best Actress), Red and Blue, Give My Head Peace, I Fought the Law, On Home Ground, Making the Cut, MIA Mine Forever, Errors and Omissions, So You Think You’ve Got Troubles, Foreign Bodies, Betrayal, This is the Sea, Monkey’s Blood (directed by Adrian Dunbar), Squaddie (directed by Conor McDermott-Roe), Pure Mule, The Last Furlong, RTE; Holy Cross, BBC; and Queen Elizabeth in Whatever Love Means, ITV. JOE HANLEY - (Joxer Daly) Joe's theatre credits include Over & Out (Lane Productions) national tour.Work in the Abbey Theatre include The Playboy of the Western World by Roddy Doyle and Bisi Adigun and Homeland by Paul Mercier.Other theatre credits include The Lieutenant of Innishmore,The Importance of Being Earnest (Town Hall Theatre Galway). Rough Magic's Take Me Away (Dublin,Edinburgh,Germany,London) winner Edinburgh Fringe First. One Flew Over the Cuckoo's Nest, Twelve Angry Men (Lane Productions). Rap Eire, Much Ado About Nothing (Bikkerstaffe). The Plough and the Stars (Gaiety). As You Like It (Druid), A little Bit of Blue, Massive Damages (Passion Machine). The Playboy of the Western World, As You Like It, Macbeth (Second Age) and Romeo and Juliet (Gate Theatre) Film credits include soon to be released Dorothy Mills. Somniac, Batman Begins, Adam and Paul, Veronica Guerin, How Harry Became a Tree, The Front Line, The Count of Monte Cristo, Flick, Agnes Brown, Run of the Country, Michael Collins. Television credits include Murphy's Law (Bafta Nom), Single Handed, Prosperity, The Clinic, Empire (ABC), Stardust, Fair City.

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Gerard Jordan – (Jerry Devine) Theatre credits include; Scenes from the Big Picture (Prime Cut & National Theatre London); Don Carlos, The Bonefire (Rough Magic); Shadow of a Gunman, American Buffalo (Lyric Theatre); The Force of Change (Royal Court); The Laughter of Our Children (Dubblejoint Theatre Co.). Gerard's screen credits include; Five Minutes of Heaven, Pulling Moves, Divorcing Jack, As the Beast Sleeps, Give My Head Peace (BBC); Fifty Dead Men Walking (Brightlight Pictures); Peacefire (Mayfly Entertainment); Accelerator (Gazboro Films); Boxed (Fireproof Films); Gun (Raw Nerve Productions).

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Bibliography & Useful Sources

• Boal, A 2002 Games for Actors and Non- Actors 2nd edition. London:

Routeldge.

• E. Jordan (ed) Theatre Stuff: critical Essays on Contemporary Irish

Theatre, Dublin, Carysford Press

• http://www.irishtheatreonline.com/

• Johnstone C, 2005 House of Games London: Nick Hern.

• Moffatt, S. 1990. O'Casey's "Juno and the Paycock" Dublin, Gill &

Macmillan Ltd.

• Morash, C. 2002 A History of Irish Theatre 1601- 2000 Cambridge,

University Press,.

• National Archives ‘Images of tenement housing’ [online] available at

http://www.census.nationalarchives.ie/exhibition/poverty_health.html

last accessed 30/08/08

• O’Casey, S. 1998. Three Dublin Plays: The Shadow of a Gunman,

Juno and the Paycock, The Plough and the Stars. London, Faber &

Faber Ltd.

• www.abbeytheatre.ie

• www.irishplayography.com

48bfeb4632d49 Juno and the Paycock- Teachers Resource 2008 Online PDF

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Transcript of 48bfeb4632d49 Juno and the Paycock- Teachers Resource 2008 Online PDF