The Golden Thread

David Clare is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Fiona McDonagh is Lecturer in Drama and Theatre Studies at Mary Immaculate College, University of Limerick. Justine Nakase is Adjunct Lecturer at Portland State University.

IntroductionDavid Clare, Fiona McDonagh & Justine Nakase

“There’s no Place like old England”: Space and Identity in Mary Davys’s The Northern Heiress; Or, the Humours of York (1716)
Marguérite Corporaal
“Some tender scenes demand the melting tear”: Frances Sheridan’s The Discovery (1763) and the Vindication of “Sentimental Comedy”
Conrad Brunström

Irish Wit on the London Stage: Elizabeth Griffith’s The Platonic Wife (1765)
Clíona Ó Gallchoir

Deceptive Disabilities in Maria Edgeworth’s The Double Disguise (1786): Irish Patriotism, Consumption, and the Martial Male Body
Sonja Lawrenson

Reimagining Maria Edgeworth’s The Knapsack (1801) for a Contemporary Young Audience
Fiona McDonagh & Marc Mac Lochlainn

Mary Balfour’s Kathleen O’Neil (1814): An Expression or Betrayal of Her Ulster Scots Background?
David Clare

Justice and the “Triple Goddess” Archetypes in Anna Maria Hall’s Mabel’s Curse (1837)
Ciara Moloney

Operas without a Hero: A Comic Trilogy (1876–1879) by Elena Norton and Mary HeyneMark Fitzgerald

“Petticoats!—petticoats! petticoats!”: Sartorial Economics in Clotilde Graves’s A Mother of Three (1896)
Justine Nakase

From Gort to Antarctica: Lady Gregory’s Audiences and The Rising of the Moon (1903)
Anna Pilz

Lady Gregory’s Grania (1912): Myth and Mythology
Shirley-Anne Godfrey

“You have let the play go to pieces”: Geraldine Cummins and Susanne R. Day’s Fox and Geese (1917) and the Hegemony of the Early Abbey Theatre
Thomas Conway

“Something left over from the Eighteenth Century, undergoing a slow process of decay”: The Impotence of the Ascendancy in Mary Manning’s Youth’s the Season–? (1931)
Ruud van den Beuken

Shape Shifting the Silence: An Analysis of Talk Real Fine, Just Like a Lady (2017) by Amanda Coogan in Collaboration with Dublin Theatre of the Deaf, an Appropriation of Teresa Deevy’s The King of Spain’s Daughter (1935)
Úna Kealy & Kate McCarthy

The Premiere Staging of Mount Prospect (1940) by Elizabeth Connor (the Pen Name of Una Troy) at the Abbey Theatre
Ciara O’Dowd

Corruption and Socio-Political Tensions in Christine Longford’s Tankardstown (1948)
Kevin O’Connor

Social Class, Space, and Containment in 1950s Ireland: Maura Laverty’s “Dublin Trilogy” (1951–1952)
Cathy Leeney & Deirdre McFeely

Máiréad Ní Ghráda’s An Triail/On Trial (1964): Hiding Hypocrisy in Plain Sight
Feargal Whelan

Christina Reid: Acts of Memory in Tea in a China Cup (1983), The Belle of the Belfast City (1989), and My Name, Shall I Tell You My Name (1989)
Emilie Pine

Anne Devlin: Depicting a Gendered Journey: Men and Women on The Long March (1984)
Megan W. Minogue

A Partial Eclipse: The Role of the Religious in Patricia Burke Brogan’s Eclipsed (1988 / 1992)
Patricia O’Beirne

Coda – What the Woman Sees: Waking Up to Feminist Aesthetics
Cathy Leeney