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The play switches suddenly between comedy, serious political commentary and tragedy throughout its two hours. In their comic representations, they express Behan's dislike for different aspects of Nationalist, Catholic, Republican Ireland's vision of itself by the late 1950s. The play has a large cast of over 13 characters with the Irish characters representing different facets of Irish nationalism. In the finale his corpse rises and sings " The Bells of Hell Go Ting-a-ling-a-ling". Leslie is killed in the ensuing gunfight, by police bullets.
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The play ends with news of the hanging in Belfast and armed Gardaí raid the brothel. During this Teresa promises never to forget him. Both are orphans living foreign to the city they find themselves in, Teresa being from Ballymahon, County Longford. The hostage of the title is Leslie Williams, a young and innocent Cockney British soldier taken at the border with Northern Ireland and held in the brothel, brought among the vibrant but desperately unorthodox combination of prostitutes, revolutionaries and general low characters inhabiting the place.ĭuring the course of the play, a love story develops between Leslie and Teresa (a young girl, resident of the house). The action of the play is set in a very odd house of ill-repute on Nelson Street, Dublin, owned by a former IRA commandant. Like the protagonist of The Quare Fellow, the audience never sees him. The Hostage depicts the events leading up to the planned execution of an 18-year-old IRA member in a Belfast jail, accused of killing an Ulster policeman.
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Mountains of the Moon - Richard Burton, explorer.Picture of the Month - Portrait Surrounded by Artistic Devices.Lawrence McFarlane on Sinking of the LakoniaĬoincidences No.s 36… on Coincidences No.s 208 &… Story through Invent… on On the trail of Egon Schi… This meant the actors were put on edge which is something Littlewood liked as it kept the play fresh and alive during the run and underlined the participative nature of her theatre in that the audience, the actors, the writer and her as director all had significant contributions to make to make the play the best thing it could be. The point of the scene is that Brendan Behan regularly attended the production and had a habit of interrupting from the auditorium much to the delight of the audience. Then thought to check my record and now I’m fixing it this morning (Day 81). Even though it’s only been a couple of months I forgot which play it is associated with and what Behan actually said. It’s actually the bit of the interview where my recorder crapped up on me for the one and only time so far but luckily I wrote down the main points on the Central Line home from Stratford – just as well as I’d already forgotten the finer details which surprised me. It’s based on my interview with actor Murray Melvin. In this case I opted for a scene from the performance of The Hostage at the Theatre Royal Stratford East in 1958. Then I had an urge, mid flow, to try to write the emblematic scene which opens each chapter, designed to capture the essence of the protagonist. I carried on pulling the research material together into the first draft of the Joan Littlewood chapter. It was the day after Boxing Day so didn’t count 100% as a working day. Day 80 was just a couple of hours really.