Productions of Deevy’s work

Paper 2

Title: Teresa Deevy’s The King of Spain’s Daughter (Oregon State University 2014).

Professor Emerita Charlotte Headrick

Abstract:

This paper considers OSU’s 2014 production of The King of Spain’s Daughter and offers a director’s reflection on directing and producing Deevy’s one-act text. In particular, the paper considers the unique use of American Sign Language as part of creating this production.

How do I access this recorded presentation?

  1. Click on the play button on the image below.
  2. The captions for this paper are embedded on the video link.
  3. Press play and enjoy!

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Biography

Charlotte J. Headrick is a Professor Emerita of Theatre Arts at Oregon State University.  A past president of the American Conference for Irish Studies, West, she has directed numerous premieres and productions of Irish Plays all over the United States, particularly those written by women.  She is widely published in the field of Irish drama. A former Moore Visiting Fellow at National University of Ireland, Galway, she is co-editor with Eileen Kearney of Irish Women Dramatists 1908-2001 (2014, 2016 Syracuse University Press).  She is the recipient of the Kennedy Center/American College Theater Festival Medallion for service to that organization. She is also a Distinguished Professor for Undergraduate Teaching at Oregon State University. As an actress, she has acted in a wide variety of roles. Work includes Signora Baptista in  Taming of the Shrew,  Countess Roussillon in All’s Well That Ends Well, Duke Senior in As You Like It (directed by her former student and actress, Seattle director Sheila Daniels) and Kate in All My Sons. Her most recent role was as Rima in Frank McGuiness’s Dolly West’s Kitchen at Oregon State University in 2015. She is a member of Actor’s Equity Association.    

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  5. To all, it has been so amazing listening to all the presentations, and so informative. I feel like I have…

  6. Hi Aaron, excellent presentation, really interesting to learn what you are working. I’m sure you will find some golden nuggets,…

  7. Hi Aaron, excellent presentation it’s great to learn what you’re going to be working on. I’m sure you’ll find some…

  8. Dear Wily, Thank you for your presentation- it was full of very memorable and poetic phrases. I’m really interested in…

  9. Dear Christa, Your paper was so interesting, I found your analysis of Deevy’s devestating representation of the poverty stricken Nan…

  10. Dear Emily, It was so interesting to hear of Deevy’s passion for the medium of radio and to know that…

  11. Hi Caoilfhionn, This paper was so fascinating. I actually paused the recording to go and quickly read ‘The Firstborn’ (!).…

  12. Hi Aaron, Thanks for the overview of your upcoming research – sounds really exciting. Your comparison of the differences between…

  13. Dear Eileen, It was fascinating to hear about your research experience and the ‘sloth’ work that it entailed! Thank you…

  14. Dear Charlotte, It was so amazing to see the work which is happening in America and to see a video…

  15. Hi Cathy, I have rewatched your paper a few times (and will a few more before the conference is over!).…

  16. Una, Thank you very much – for your comments and for all your generous guidance and time over the last…

  17. Fascinating to hear the journey and especially the pre-Google days!

  18. Hello Dayna, Thank you for your wonderfully well-researched account of the ideology of womanhood in Deevy’s Ireland and in her…

8 replies on “Productions of Deevy’s work”

Dear Charlotte, thanks for your thriving picture of Deevy’s theatre in the US and for your key contributions to it – it is inspiring, and sets a challenge for, well, other locations. The excerpt from your staging of the King of Spain’s Daughter was fascinating! Thanks again!

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Cathy, a superbly insightful analysis of Caroline Byrne’s exciting and inspiring production of Katie Roche in the Abbey in 2017 and a wonderful recollection of Judy Friel’s production of the same play in 1995 (which I didn’t see but wish I had). Your presentation articulated how haunted I felt, following that production, by the character of Katie. As ever, you enable me to better see and understand my experiences of live theatre and you rightly celebrate what it helps us to realise, achieve and understand as a society. Thank you so much for this paper – leading the way in Deevy scholarship as ever!

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Dear Cathy, Kate here. Thank you so much for this rich, semiotic reading of Deevy’s ‘Katie Roche’, and Judy Friel’s and Caroline Byrne’s productions. The focus on embodiment really resonated with me, as did the idea that this text (and its various iterations in productions) challenges the audience in its effort to, as you say, uproot us. Your analysis of Katie Roche as both a text and character at different points in time (1936, 1994, and 2017) prompted me to reflect on the current power struggles between women and the State, and why Deevy’s work remains relevant to these conversations.

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Dear Cathy – thanks so much for this fascinating and challenging talk. I was really struck by your teasing out of the idea that the ‘power to create meaning resides as much if not more in body and space than in narrative’. I will enjoy thinking this through in the case of Deevy and reflecting on how her texts can accommodate these contemporary reinterpretations!

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Dear Charlotte – I can’t tell you how much I enjoyed both your paper and the excerpt from the play. The ‘shadowing’ technique is transformative and so strong in how it seemed to underline the complexity of the characters and the physicality of the performances overall. I liked the set too. And you will never believe this, but I had heard of this production from an Oregon student on a summer Study Abroad programme I teach on in Galway. I was intrigued but terribly confused….. and now – mystery solved! It is wonderful to know that Deevy is being produced in Oregon. Thanks so much for sharing your insights and your work on this production.

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Ah, Cathy, how wonderful to finally meet you, even through cyberspace! Wonderful presentation with your vivid descriptions of the differences between the two productions was excellent. My husband Dan, who is a set designer, also loved your observations. Great work, and many thanks!

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Hi Cathy,

I have rewatched your paper a few times (and will a few more before the conference is over!). Like Caoilfhionn, your comment, ‘the power to create meaning resides as much if not more in body and space than in narrative’, really resonated with me. As you suggested during my PG2, I have narrowed the scope of my PhD and the spatial representation of women is now central to my work. I was in America on my Fulbright experience when the Abbey produced ‘Katie Roche’ in 2017 and I did not see the Judy Friel production so it was invaluable to hear your analysis of the productions and has really informed my current work – Thank you!

Dayna

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Dear Charlotte,

It was so amazing to see the work which is happening in America and to see a video clip of the production. The inclusion of sign language interpreters within the performance worked so smoothly and I can only imagine that it would be a production that would have thrilled Deevy!

Kind regards

Dayna

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