![]() The Hostage has a large cast and it would seem unfair to single out any members for distinction. In contrast to this cynicism, Pat’s wife Meg hasn’t lost faith in the dream of a united Ireland and doesn’t see a distinction between ‘the Struggle’ in the past with Ireland’s situation ‘today’. As for Eire itself, the identification of the Free State with Catholicism is not a development Pat thinks is beneficial, just the replacement of one ‘yoke’ with another. Through Pat we see a disillusionment with the calibre of the ‘present generation’ in the IRA – ascetic and serious-minded, but forgetting to enjoy the little things in life that make life enjoyable and worth living for. At the other end of the spectrum, the young British soldier who is set upon, and oblivious to Ireland’s history and politics can similarly be found in another story of The Troubles – Yann Demange’s ’71. ![]() Structurally, the DNA of The Hostage can be found in Restoration comedies (where the hypocritical actions of the ‘pious’ are ridiculed) as well as the sitcom ‘ Allo ‘Allo! (which has its own ‘Resistance’ and ‘occupying enemy’ narrowly missing each other). ![]() While the main plot is of a very serious nature, the characters in the play intentionally bring moments of levity and flit back and forth between prose and song – familiar ballads given a nationalist emphasis. If the IRA prisoner is released, so will Williams, but the opposite is conversely true. In retaliation, Leslie Williams, a British conscript soldier, is seized by the IRA as a hostage. Within the play, the chief story in the news concerns an 18-year-old IRA activist, who is scheduled for execution the next day. Like Behan himself, Pat’s a former solder in the Irish Republican Army, but while he still feels strongly about some things, on other matters time has mellowed him. Head of the boarding house is Pat (Cal Lowry) – a ‘veteran’ from 1916’s Easter Rising who in his advanced years turns a blind eye to the various activities under his roof. Set in a ‘house of ill-repute’ in Nelson Street, Dublin, The Hostage is an unusual play. L-R: Sam Claridge, Charlie Kirkpatrick and Rory Gradon In 1958, Behan wrote The Hostage, a play loosely based on his Gaelic short play, An Giall. Following a short spell in prison, Behan concentrated on books, poetry and plays, but his experiences and political convictions permeated his writing. As a young man Behan was a serving member of the Irish Republican Army. Behan’s father imparted to him a love of literature, while his mother shaped his political development. To fully grasp the multi-layered nature of the play, it’s helpful (but not absolutely essential) to know something of the author, Brendan Behan. What with the recent negotiations between the European Union and the British government regarding the Irish/Northern Ireland border, the revival of The Hostage by Jake Murray is quite timely.
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