Jump to ContentJump to Main Navigation
From prosperity to austerityA socio-cultural critique of the Celtic Tiger and its aftermath$
Users without a subscription are not able to see the full content.

Eamon Maher and Eugene O'Brien

Print publication date: 2014

Print ISBN-13: 9780719091674

Published to Manchester Scholarship Online: January 2015

DOI: 10.7228/manchester/9780719091674.001.0001

Show Summary Details
Page of

PRINTED FROM MANCHESTER SCHOLARSHIP ONLINE (www.manchester.universitypressscholarship.com). (c) Copyright Manchester University Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MSO for personal use.date: 18 May 2022

‘Holes in the ground’: theatre as critic and conscience of Celtic Tiger Ireland

‘Holes in the ground’: theatre as critic and conscience of Celtic Tiger Ireland

Chapter:
(p.188) 13 ‘Holes in the ground’: theatre as critic and conscience of Celtic Tiger Ireland
Source:
From prosperity to austerity
Author(s):

Vic Merriman

Publisher:
Manchester University Press
DOI:10.7228/manchester/9780719091674.003.0014

This chapter reviews selected examples of Irish theatre's critical engagement with the building industry, banking and media which underpinned Celtic Tiger Ireland. Plays considered include Paraic Breatnach and others, Site!: A Builders Tale; Pom Boyd, Declan Lynch, Arthur Riordan, Boomtown!; Tom Hall, Boss; and David McWilliams, Outsiders. The time spanned by these works includes the statistical highpoint of Tiger ‘success’ in 1999, through to 2008, when it collapsed, and on to 2010 when the public demand for answers and culprits resulted in a ‘riot at the ballot box’. Merriman considers the extent to which the 1999 plays typify a public, critical engagement which emerged in the ‘theatre of the nation’ during the 1990s. It sets these interventionist works against the view that Irish theatre demonstrates failures of nerve and ethical purpose during the Celtic Tiger period, and it questions the extent to which this serious charge against dramatic artists is sustainable. Boomtown! is especially important here, as it was critically excoriated in its original production in 1999 but the sharp contrast between that dismissal and public responses to its revival, in staged reading form in 2009, exposes a trajectory in national life from denial to angry denunciation, over a ten-year period.

Keywords:   Boomtown!; Boss, Pom Boyd, Paraic Breatnach, Tom Hall, Declan Lynch, David McWilliams, Outsiders, Arthur Riordan, theatre

Manchester Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.