Sullied Magnificence: The Theatre of Mark O’Rowe is a collection of essays that combines the voices of Mark O’Rowe’s collaborators and critics with analysis by leading academics. It examines the role of the actor and director in monologue theatre. It questions the use of violence in O’Rowe’s films and plays. It explores influences and inspirations, and provides a thorough introduction to the work of one of Ireland’s most unique theatrical voices. It also takes a brief look at O’Rowe’s work for film, as both writer and director, and the crossover effect this work has had on his plays.
Oxford, Bern, Berlin, Bruxelles, New York, Wien, 2015. VIII, 178 pp.
CONTENTS: Jimmy Fay: A Sense of Place, A Place of Dread - David S. Clare: «Keep the Aspidistra Flying»: The Satirizing of
Celtic Tiger, «Aspirational» Lifestyles in Mark O’Rowe’s Early Work - Thomas B. Costello: Expletive Narrative: Mark O’Rowe’s
Howie the Rookie: The Early Critical Reception of Dublin’s Dark Diegetic Narrative - Aidan Kelly: The Small Guy with
the Glasses - Sara Keating: Crestfall: A Production Study - Tim Barrett: Performativity and Class in Mark O’Rowe’s Monologue
Plays - Emma Creedon: From «Up-Yer-Hole» Theatre to the Shakesqueer: Made in China (2001) and Henry IV Part I
(2002) - Marie Kelly: At the Terminus in the Brain: Illusions of Consciousness in Mark O’Rowe’s Terminus - Nelson Barre: Interwoven
Locality and a Globalized Dublin: Mark O’Rowe’s Terminus - Harvey O’Brien: Violated Sanctuaries: The Screenplays
of Mark O’Rowe - Emilie Pine: Review of Our Few and Evil Days - Cormac O’Brien: A Tallaght of the Mind: In Conversation
with Mark O’Rowe.