" Over the years American -- especially New York -- audiences
have evolved a consistent set of expectations for the "Irish play."
Traditionally the term implied a specific subject matter,
invariably rural and Catholic, and embodied a reductive notion of
Irish drama and society. This view continues to influence the types
of Irish drama produced in the United States today. By examining
seven different opening nights in New York theaters over the course
of the last century, John Harrington considers the reception of
Irish drama on the American stage and explores the complex
interplay between drama and audience expectations. All of these
productions provoked some form of public disagreement when they
were first staged in New York, ranging from the confrontation
between Shaw and the Society for the Suppression of Vice to the
intellectual outcry provoked by billing Waiting for Godot as "the
laugh sensation of two continents." The inaugural volume in the
series Irish Literature, History, and Culture, The Irish Play on
the New York Stage explores the New York premieres of The
Shaughraun (1874), Mrs. Warren's Profession (1905), The Playboy of
the Western World (1911), Exiles (1925), Within the Gates (1934),
Waiting for Godot (1956), and Philadelphia, Here I Come (1966).
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