A Calendar for the Production and Reception of Cathleen Ni Houlihan

A Calendar for the Production and Reception of Cathleen Ni Houlihan ANTONY COLEMAN • 20JANUARY 1902, Yeats writes to Lady Gregory. "[Maud Gonne] is anxious by the by to play Kathleen ny Hoolihan for us. She will certainly be a draw if she does. Fay could easily find all the rest of the company."l Yeats had written to Ellen O'Leary, in 1889, "Did I tell you how much I admire Miss Gonne? She will make many converts to her political belief. If she said the world was flat or the moon an old caubeen tossed up into the sky I would be proud to be ofher party."2 W.G. Fay claims that Yeats persuaded Maud Gonne to take the title part. His account of the production continues: Our cup now ran over, for, as president of Inginide na hEireann Miss Gonne was in fact what Kathleen ni Houlihan was in symbol. Never again will there be such a splendid Kathleen as she; a beautiful tall woman with her great masses of golden hair and her voice that would charm the birds off the bough. Her promised appearance assured us of the support not only of her own society but of Cumann na nGaedeal as well. It was under the auspices of Miss Gonne's society that our performance was formally given.3 Cumann na nGaedeal ["The Irish League"] and Inginide na hEireann ["The Daughters of Ireland"] were foremost at this time in the encouragement of cultural nationalism. But they did not exclude overt political ends - specifically that of independence - and the association of Yeats's play with both groups was to result in its being considered as more than a dramatic entertainment. For P. S. O'Hegarty and his revolutionary contemporaries it was a "sort of sacrament."4 127 128 ANTONY COLEMAN January to March. Production details. The promptbook for Cathleen Ni Houlihan has survived and is now preserved in the National Library of Ireland.5 Mrs. Brigit Fay, W.G.'s widow, has recalled that Frank Fay "attended to prompting when he was not on the stage and kept meticulous promptbooks."B Of her husband Mrs. Fay states that he was a perfect example of patience at dress rehearsals. With the responsibility of everything on his mind it was remarkable to watch his management especially as Yeats was particularly tiresome about lighting the stage for his plays and was, apparently, never satisfied.... W.G. taught us how to be still when movement ofany kind was undesirable. To stand or sit still when it was important for the play that a single actor should hold the complete attention of the audience.7 That W.G. succeeded in this respect in Cathleen Ni Houlihan emerges from Yeats' later praise. The Property Plot lists the following: 3 Kitchen chairs, 1 three-legged stool, kitchen table, wedding clothes, knitting (Bridget), bag ofmoney (off R for Michael), creel ofturfat fire R,jug ofmilk on dresser, mug on table, dresser C up stage, blue china on dresser, coin (Peter). Dresses for the male cast specify a) for Patrick: boneen, kneebreeches, stockings, pampooties; b) for Michael: boneen, kneebreeches, stockings, hat, pampooties; and c) for Peter: white-sleeved waistcoat, kneebreeches, stockings, hat (soft). Stage directions. Collation of the promptbook (P), and the text in The Variorum Edition of the Plays (V) reveals that Yeats left to the producer much freedom in the working out of detailed movements for the characters.8 A small selection of the additional stage directions is presented here: italic is used to indicate Ms. additions to the promptbook typescript. In V the setting and the opening stage directions are given as "Interior ofa cottage close to Killala, in 1798. Bridget is standing at a table undoing a parcel. Peter is sitting at one side of the fire, Patrick at the other." These are expanded in P: "Interior of a cottage close to Killala, in 1798. Bridget is standing L ofa table RC undoing a parcel. Peter smoking is sitting at side of fire which is at R 2 E. Dresser C at back, Patrick at side. Window at back LC. Door L. Door R upstage. Distant cheering at rising of Curtain...