The Poker Session
Hugh Leonard’s play The Poker Session treats the themes of betrayal and blame. The playwright discussed some of the play’s complexities in his production note to the acting edition. “The Poker Session is not only a play of detection: it contains also the elements of a comedy, a thriller, a tragedy, an allegory and a black farce. It is for the intending producer to decide upon his own interpretation – to find his own ‘through line’, as it were. On the surface, the play seems to be completely naturalistic: the story of a young man who is spending his first evening at home after a year in a mental institution. Its basic appeal to an audience stems from the several questions it poses: such questions as ‘Is Billy now sane?’ ‘Why has Des, the missing guest, failed to show up?’ and, most important of all, ‘Who drove Billy into the asylum?’
“But the play’s apparent simplicity may prove deceptive. The Poker Session may be understood (and misunderstood) on a number of more ‘subterranean’ levels. To give one example: although we see poker being played hardly at all in the course of the action, the play has none the less been written so that it resembles a rather hectic game of what Teddy calls ‘stand-up poker’. Each character behaves towards the others in the same way as he or she would behave during an actual poker game.”
The Poker Session was first presented by Gemini Productions during the 1963 Dublin Theatre Festival and subsequently staged in London (1964) and New York (1967 and 1984). Marius Goring played Teddy in the first production. Colm Meaney appeared in the NY 1984 production. Professional and amateur productions continue. The cast is: 3M 3F.
Hugh Leonard’s stage adaptation reflects his life-long attachment to the work of Charles Dickens, especially Great Expectations.
“My great-aunt Julia lived in a ramshackle drunkard of a house … I remember an old woman dressed in unending dusty layers of grey and black who called to our house one day and presented me with a mildewed copy of Great Expectations and then pushed a halfpenny into my hand with the unassailable observation that as long as I kept it I would always have money. My new affluence was short-lived, for she returned the following day to inform my mother that ‘I want me bewk and me ha’penny back, if ye please’. … and although she retrieved both the coin … and the book, the harm had been done. I had already travelled the marshes with Pip, stolen bread for Magwitch and nearly had a seizure when uncle Pumblechook drank the tar water…”
So wrote Hugh Leonard in his memoir Home Before Night. In the 1960s Leonard forged a reputation for writing both for stage and for the new medium of television. And in 1967 he adapted the first of many classic works as TV serials, mainly for the BBC in Britain. This first was of course Great Expectations. In the early 1990s, Leonard returned to Great Expectations and adapted it for the stage for the Gate Theatre in a production directed by Alan Stanford. Hugh Leonard’s adaptation continues to be staged by professional and amateur groups. It has been described as “bringing to life all the vivid characters of the original and conveying the story with great clarity, atmosphere and theatrical flair”.
The cast comprises nine male and six female with some doubling possible. In his adapter’s note to the published edition Leonard wrote of his stage play “There are two Pips, not for reasons of stagecraft, but because there are two in Dickens’ book: the country boy and the young man he becomes. I have tried to reflect this duality by doubling some of the other parts and by stressing the double life of that delightful schizophrenic, Wemmick”. It has been staged with a set comprising three thematic zones that are otherwise minimalist.
Leonard has also adapted A Tale of Two Cities for the stage.
The Au Pair Man
“I advertise daily for an au pair, but it seems to be a dying genre. I’m afraid you were inimitable, my dear: of the few young men who came to be interviewed, not one has had the proper…… disqualifications.”
Hugh Leonard’s allegorical play the Au Pair Man, was nominated for a Tony award on Broadway in 1974. A gauche young Irishman Eugene Hartigan arrives at the home of Elizabeth Rogers to repossess a wall unit on which she has failed to make the repayments. Her home is a crumbling pile filled with memorabilia of the British Empire, its walls held up only by the wall-unit which serves as a room partition. She inveigles him into the “position” of au pair man – the latest in a succession of such – and proceeds to polish his rough ways in return for his “services”. Can he escape her clutches?
This two-hander premiered in Dublin in 1968 starring Donal McCann and Joan Greenwood and was directed by Ted Kotcheff. The production subsequently transferred to London’s West End. A further production toured the UK in 1970. The Au Pair Man was presented on Broadway in 1973 and nominated in 1974 for best play in the Tony awards on Broadway. It starred Julie Harris (also nominated for a Tony Award) as ER and Charles Durning as Eugene.
Leonard and McGahern – The Barracks
The Barracks, Hugh Leonard’s adaptation of the 1963 novel by John McGahern, premiered in 1969 at the Dublin Theatre Festival. This appears to be the only stage adaptation of a McGahern novel.
The play concerns Elizabeth Reegan (Aideen O’Kelly) who return to her native village in Ireland, after years of freedom–and loneliness, and marries Garda Sergeant Reegan (Martin Dempsey), a widower with children. “The children are not her own; her husband is straining to break free from the servile security of the police force; and her own life, threatened by illness, seems to be losing the last vestiges of its purpose”. (Irish Playography)
The play was staged at the Gate Theatre by Gemini productions and directed by Tomas Mac Anna.
During the 1960s Leonard wrote a play a year for the Dublin Theatre Festival, alternating original works with adaptations. His adaptations were of radical and exciting works by James Joyce, Flann O’Brien and, here, John McGahern whose second published novel The Dark had been banned in Ireland in 1965.
Sherlock Holmes and the Mask of Moriarty
“Oh, Miss, I am dead. The two men…they have killed-“
An impossible murder in the fog on Waterloo Bridge. So, begins The Mask of Moriarty. a full length play by Hugh Leonard. This Sherlock Holmes spoof is an original work by Leonard based on the characters created by Arthur Conan Doyle.
In the Mask of Moriarty, Hugh Leonard brings together Holmes, Watson, Inspector Lestrade and of course Moriarty. There are multiple references to other literary figures from the period with references to Bunny Manders from E W Hornung’s Raffles stories, Dorian Gray, and (with a lapse of time) Jekyll and Hyde. While the play is a comedy, there is a genuine whodunit to solve and the mystery content is substantial.
The play was commissioned by the Gate Theatre in Dublin where it premiered in 1985 with Tom Baker in the role of Sherlock Holmes and Alan Stanford as Doctor Watson. It was subsequently staged in Britain with Geoffrey Palmer as Holmes and James Grout as Watson, and at the Williamstown Theatre festival with Paxton Whitehead as Holmes. Tom Baker and Alan Stanford in the Mask of Moriarty, Gate Theatre, 1985.
PICT (Pittsburgh Irish and Classical Theatre) presented the Mask of Moriarty in 2011. The play has been translated into and performed in Finnish at the Sipoo Theatre.
The Mask of Moriarty was founded in a genuine affection for, and knowledge of the work of Conan Doyle: Leonard had previously adapted The Hound of the Baskervilles and A Study in Scarlet for the BBC in 1968.
Leonard, Joyce and Dubliners
Following his success in adapting Joyce for the stage in Stephen D. in 1962, Hugh Leonard went on to adapt seven of Joyce’s Dubliners stories for the stage in the full-length Dublin One (1963) and the one-act The Dead (1967).
Irish Playography describes the first half of Dublin One as “a study of the Dubliner as a social animal (‘An Encounter’/‘Counterparts’/’Grace’)” and the second as “a study of the Dubliner as a political animal (‘Ivy Day in the Committee Room’/’Two Gallants’/’A Little Cloud’).” The cast, which included Donal Donnelly, and the crew are detailed here.
The Dead was presented in 1967 with a short original one act play The Late Arrival of the Incoming Aircraft as The Quick and the Dead. Maureen Toal and Jim Norton played Greta and Gabriel Conroy. The cast list is reproduced here. Hugh Leonard wrote a television version of The Dead in 1971 for ITV’s Sunday Night Theatre series.
Hugh Leonard and James Joyce: Stephen D
“Stephen D is a most difficult and intricate play, which will stand or fall depending upon its director’s imagination”, Hugh Leonard in his production note to the US edition of the script.
Stephen D, as described by Michael Coveney of The Guardian newspaper, was “a skilful conflation of two James Joyce works, A Portrait of the Artist as a Young Man and Stephen Hero, [it] made [Hugh Leonard] a name to reckon with at the Dublin theatre festival”.
Leonard’s production note also observes that “… Joyce’s main objective was not to portray external truths; his intent was to write from within, to show the influences under which the mind of Stephen Dedalus (or Joyce, if you like) rebelled against and finally rejected the four greats “F’s” of Ireland: faith, fatherland, family and friendship. This was Joyce’s aim, and it is the objective of Stephen D.”
And that “The play’s construction is episodic, within a flashback framework, and there is a minimum of linking devices…. as it progresses the narrator, Stephen, steps into the action, which resolves itself into a number of longer, more sharply defined sequences.” Emilie Pine writes in The Methuen Drama Guide to Contemporary Irish Playwrights that in Stephen D “Leonard played with stage conventions and impressionistic techniques in an accessible style a format that would inform much of his own original drama in later years”.
Hugh Leonard subsequently adapted Dubliners for the stage as a full-length play, Dublin 1, and The Dead for the stage as a one act play.
Stephen D was first presented at the Gate Theatre, Dublin on 24 September 1962 and subsequently at the St Martin’s Theatre, London, on 12 February 1963. The Dublin cast is shown in the illustration.
It was presented in New York City at the East 74th Street Theatre on September 24 1967 with Stephen Joyce (sic) as Stephen. Roy Scheider’s Cranly earned him an Obie for a “distinguished performance”.
Stephen D was the BBC Play of the month in 1972 and starred Donal McCann as Stephen and Tony Doyle as Cranly. http://www.imdb.com/title/tt0847702/
Hugh Leonard, playwright
The Irish playwright Hugh Leonard (1926-2009) described writing as “an illness, a virus that no science can isolate and cure”. This illness afflicted him for his 82 years during which he wrote some 30 full length plays, 10 one act plays, at least six film scripts, three volumes of memoirs, three novels and a satirical newspaper column. His plays have been performed on five continents. He won television and theatre awards.
This is the official website for Hugh Leonard. In format it is part website, part blog, part scrapbook. The intention is to build up over time a comprehensive and authoritative reference work on his plays, books, television scripts, essays and columns. Articles on individual plays and other topics are presented as blog posts; reference material is provided through the drop-down menus. Your comments, contributions and corrections are all welcome.
The Late Arrival of the Incoming Aircraft
The Late Arrival of the Incoming Aircraft (also The Quick)
A one act play by Hugh Leonard.
The action takes place in a lounge at Dublin Airport. Josie Collins is desperate to flee her husband and the life he has made for her. “… I walked around the house. I said: ‘This isn’t good enough. I do things I don’t want to, I go to places I wouldn’t be found dead in, and I live the life of a dummy. And he can’t stand me.’ ” She’s booked on a plane to London but the late arrival of the incoming aircraft gives her husband the chance to catch up with her at the airport. Can he – or student priest Father Campion – persuade her to return home? “How cowardly it is to put one’s soul into the custody of others”.
Originally written as a television play for the BBC, it was first produced in 1965 with a cast that included Kevin McHugh, Joe Lynch, Nigel Lambert and Maureen Toal – the only member of the cast to appear in the stage version two years later…
The Late Arrival of the Incoming Aircraft was staged The Quick as part of a double bill of one act plays, The Quick and The Dead, at the Dublin Theatre Festival of 1967 – part of the programme is reproduced below. It has subsequently been performed, and is published, as a one act play.
Award curios and questions
There is at least one curiosity and one question in the awards listed in our page on Hugh Leonard’s “Awards and Honorary Degrees” – an impressive scan of four decades and mix of the Irish and the international.
The question is this: by the evidence of the photograph above, HL won the Jacobs Television Award twice. The older award, on the left, dates back to 1969 and HL’s adaptations of Wuthering Heights and Nicholas Nickleby (he did indeed set the gold standard for TV adaptations and classic serials at time) but what was the second, later Jacobs TV award for? This is the post 1981 award designed by Theo McNabb. It does not feature in the best listing that I can find – here.
The second curiosity is the “Award of Merit” from the Writers Guild of Great Britain in 1966 for Silent Song. I have been in touch with the Guild and they advise that awards were made throughout the 1960s but no systematic record was kept. So the actual framed award is the only evidence of its existence. “Silent Song” is well evidenced: it was a big deal in its day and deserves its own, future post. Meanwhile I reproduce the award here for the record.
For the true TV historians among you, the award and its signatories are a glimpse at pioneers of television. “Willis” refers to the screen dramatist Ted Willis, best known for writing Dixon of Dock Green – that set the style for so many police /crime dramas to come – and elevated to a life peerage in 1963. David Whitaker was the founding script editor and an early writer of Doctor Who.
Mick and Mick – and other names
Mick and Mick, Hugh Leonard’s play of 1966, provides a good example of the difficulties of cataloguing his work.
In Mick and Mick Fran Corish returns home to Ireland after eight years in England and discovers that, emotionally, she never left home at all (“I never left them… all the nice people”) and tries to face up to hard choices (“A choice between Micks is no choice at all, Fran”). The play was staged in the Dublin Theatre Festival in October 1966 – the programme for that production is illustrated here. But a version of the same play with the same cast and the same director, Guy Verney, had already been produced for television’s Armchair Theatre in August 1966 as Great Big Blonde. This is misquoted in some sources as “The Big Blonde”. And to cap it all in 1976 the stage play was produced at Olney Maryland as “All the Nice People”.
This is not an isolated instance. John Keyes Byrne wrote A Nightingale in the Branches but it was as Hugh Leonard that he submitted the same play as The Big Birthday to the Abbey Theatre in 1956. Irishmen (Olney 1975) and Suburb of Babylon (Dublin Theatre Festival 1983) have surely both been used to present the same trilogy of one act plays.
And so the disentangling continues and the “Compleat Hugh Leonard” remains, for now, a work in progress. The best effort will be posted to the Links and Resources page of this site.
The large cast and good cameo parts means that Mick and Mick remains popular especially with community theatre companies. It has been presented in 2012 by Square One Theatre group in Bray, who have lent the image used here.
Maureen Toal who died in 2012 was the original Great Big Blonde of TV and stage. She appeared in many HL plays in the 1960s – and in the original production of A Life and Pizzazz.
Suburb of Babylon is being presented at the Ilkley Playhouse in April 2013. Individual plays from this trilogy are regularly staged.
Towards the end of Hugh Leonard’s life he expressed the view that Summer was his best play. This article notes what he and some critics have said about it.
HL wrote disparagingly in an unpublished memoir “Critically, my play Summer far outdid Da at Olney – I have noticed that if a play features a number of characters lying on grass, one of them strumming a guitar, the critics rave and dust off the superlative “Chekhovian.”
Some years earlier he also wrote “In my play Summer, I began with the idea of two picnics six years apart. I wanted to see what time had done to my people. At the beginning, a metaphor was in the back of my head, and it was that at a certain point in our lives we move from a bus to a tramcar which travels along an ordained route, unable to change its course. We, the passengers move around inside it, giving ourselves the delusion of freedom of choice and destination.”
The illustration accompanying this article is, I believe, from the 1980 off-Broadway production at the Hudson Guild Theatre. The New York Times critic Frank Rich wrote of this scene : “the lights come up on a grassy hill high above Dublin, and we find eight people relaxing after a picnic lunch, reclining in the sod, saying nothing. It’s obvious that these people all belong to the same part, but, for this extended instant, each character is isolated, staring off into a lonely space of his own choosing… And while no one has spoken a line, the audience has already been treated to a poignant foreboding of the evening’s subject. The tranquil hush of the hill, the beatific stares on the faces, the translucent glow of the sky all summon up an utter stillness that cannot be confused with anything but death”.
In his obituary and evaluation of Hugh Leonard in 2009, the Irish Times’ Fintan O’Toole wrote “For the second half of what is perhaps Hugh Leonard’s best play, Summer, three married couples reassemble at a beauty spot in Dalkey where we have seen them have a picnic six years earlier. As they take stock of the landscape, they are struck by the changes. The Celtic cross that had marked the spot has been removed to the National Museum. A crane dominates the horizon. The talk is of the property boom and political cronyism….The remarkable thing about this scene is that it is set not at the height of the Celtic Tiger, but in 1974, the year the play was first produced. That it could be cutting-edge contemporary theatre reminds us of the neat dramatic timing of Hugh Leonard’s final exit.”
Summer was first produced at the Olney (Maryland) Theatre in 1974 and staged again in that year’s Dublin Theatre Festival. It was produced off-Broadway in 1980 at the Hudson Guild Theatre with a cast that included Swoosie Kurtz, Pauline Flanagan and Mia Dillon. A rehearsed reading was staged at the New Theatre in Dublin in 2007 as part of the Dublin Theatre Festival 50th anniversary programme.
Illustrating this site
Depending on the device that you are using, you may see less or more of the background image for this this site, so it is illustrated in full above . This old photograph – it looks 100 or more years old – is taken from the top of Sorrento Park in Dalkey, looking down on the bandstand with Dalkey hill in the background. HL’s play A Life opens with the principal character Drumm addressing an unseen audience “To conclude. I have chose to terminate today’s walk in this park which is remarkable for its view of sea and mountains, such as may have inspired Bernard Shaw’s observation that whereas Ireland’s men are temporal, her hills are eternal. Any child familiar with the rudiments of geology could have told him otherwise, but then even Shaw was not immune to his country men’s passion for inexactitude. These few acres have more than a scenic claim on our attention. This hillside is all that remains of what was called the Commons of Dalkey…”
Leonard’s one act play A View from the Obelisk is set on Killiney Hill that can be seen in the distance on the left.
The photograph in the page “About Hugh Leonard” is a rediscovery kindly supplied by a friend of the playwright. He is seen working in his office, a studio in the garden of his house in Killiney, in an image from the early 1970s. This is the desk he wrote at for nearly 50 years. To the left of the door, you can just about see his Prix Italia awarded in 1967 for the television play Silent Song.
This site uses the WordPress theme “The Columnist” – chosen for its magazine format but a nice verbal fit with the subject. The monochrome in these initial illustrations picks up on Hugh Leonard’s important work in the early years of television and his love of old fillums.