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Within the last ten years there has been a renaissance in Irish drama from both sides of the border, including award-winning work which has transfered to London and New York, and has toured Britain as well as Europe and Australia. This book explores the dynamics of the relationship between these representations of Ireland and the fluid nature of cultural identity, especially during a period of economic and political change. Although the book establishes the historical context for contemporary Irish drama, and does include discussion of some of the earlier works of Brian Friel, Frank MacGuinness and Tom Murphy, the emphasis lies on their more recent work from 1980, and especially upon work created by new writers performed during the 1990's, during the emergence of the 'Celtic tiger economy' in the Republic, and the Peace Process in the North. Key themes provide the structure of the book, which examines especially those theatrical strategies which have been associated with the performance of identity, particularly in a post-colonial situation. References are also made to interviews with writers, performers, directors and groups, as well as performances seen across Ireland and Britain. Contemporary critical perspectives from post-colonial theory to psychoanalysis and performance praxis are deployed, but in an accessible way. In contrast to the tensions associated with the colonising relationship between Ireland and Britain, the relationship between Ireland and Europe are considered in terms of cultural and economic influences and performance practices, and that between Ireland and America in terms of the 'dream of the West', the diaspora and tourism.

This bibliographic guide directs the reader to a prize selection of the best modern, analytical studies of every play, anonymous play, masque, pageant, and "entertainment" written by more than two dozen contemporaries of Shakespeare in the years between 1580 and 1642. Together with Shakespeare's plays, these works comprise the most illustrious body of drama in the English language.

“I here and there o’heard a Coxcomb cry,
Ah, rot—’tis a Woman’s Comedy.”

Thus Aphra Behn ushers in a new era for women in the British Theatre (Sir Patient Fancy, 1678). In the hundred years that were to follow—and exactly those years that Curtain Calls examines—women truly took the theater world by storm.

For each woman who chose a career in the theater world of the eighteenth century, there is a unique tale of struggle, insult, success, good or bad fortune, disaster, seduction, or fame. Whether acting, writing, reviewing, or stage managing, women played a major, if frequently unacknowledged, role in the history of the theater from the late seventeenth through the early nineteenth centuries. From Alpha Behn’s earliest plays through the glorious celebrity of Sara Siddons, women molded the taste of the age and carved out in the theater one of the few available opportunities for independence and renown.

Not all the women who tried succeeded, of course, and even the best faced opposition as they challenged the male stronghold of playwriting and theater managing. Curtain Calls maps the new territory as these pioneering women staked it for their own; it chronicles their lives, their triumphs, and their losses.

We begin with Aphra Behn, whose first play was staged in 1670, and conclude in the early decades of the nineteenth century with Inchbald and Siddons. The one hundred and fifty years encompassed by their lives contain the careers of dozens of lesser–known women, a network, as Dr. Johnson would have it, encompassing both talent and tribulation.

Contributors include: Edward Langhans, Linda R. Payne, Pat Rogers, Maureen e. Mulvihill, Deborah Payne, Betty Rizzo, Ellen Donkin, Frances M. Kavenik, Jessica Munns, nancy Cotton, Edna L. Steevs, Doreen Saar, Jean B. Kern, Katherine M. Rogers, Constance Clark, William J. Burling, Judith Phillips Stanton, Douglas Butler, Rose Zimbardo, and the editors.