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Sonic Femininity: The Ronettes' Transgressive Gender Performance, Hilarie Ashton
Sonic Femininity: The Ronettes' Transgressive Gender Performance, Hilarie Ashton
Publications and Research
Iconic sixties girl group the Ronettes are frequently (and justly) celebrated for anchoring the Wall of Sound and inspiring the Beatles, but in their own right, they transgressed social, gendered expectations in revolutionary ways. Framed by a notion I call the sonic feminine, a recuperative theoretical space for the revolutionarily transgressive work of female and femme artists, I argue that the Ronettes, and lead singer Ronnie Spector in particular, enacted a kind of cultural rebellion: they crafted their images to made-up heights that tease the boundaries of drag across the spaces of the stage, the recording studio, the bathroom, and …
The Mcgowan Trilogy (Plays), Seamus O'Scanlain
The Mcgowan Trilogy (Plays), Seamus O'Scanlain
Publications and Research
The McGowan Trilogy is a psychological journey of violence, sorrow and love lost. Set in 1980s Ireland after the Brighton Bombing which targeted Margaret Thatcher and her cabinet it follows the exploits of Victor M. McGowan - a new breed of IRA enforcer - in love with puns, guns and the pogo. The Trilogy won awards for Best Actress, Best Director and Best Production in 2014 and played for 20 nights in New York. In 2015 it played in the UK at the Kino-Teatr, An Taibhdhearc, The Town hall Westport and The Town Hall Galway.
Broadway And The Paycock: The Broadway Musical Adaptation Of Sean O'Casey's Juno And The Paycock, Julia M. Furay
Broadway And The Paycock: The Broadway Musical Adaptation Of Sean O'Casey's Juno And The Paycock, Julia M. Furay
Publications and Research
The 1959 Broadway musical Juno, based on Sean O'Casey's 1924 classic Juno and the Paycock, is notable despite its ultimate artistic and financial failure. Musical adaptors Joseph Stein and Marc Blitzstein were inspired by the inherent musicality of O'Casey's play. However, O'Casey's linguistic complexity, profound characterization and political commentary were impossible to translate onto the Broadway stage. Instead, Stein, Blitzstein and de Mille emphasized ritualism and psychology within the story of the Boyle family, and were careful to conform O'Casey's world to that of 1950s Broadway. In doing so, however, the adaptation became different thematically from its predecessor. …