229:, a study of radio drama's medium specificity, Elissa S. Guralnick cites the play as a prime example of the medium's ability to use its adjacency to documentary and journalistic forms to achieve a dramatic intent. Radio also allowed Rudkin to maintain the "essential interiority" of Casement's diaries, bringing to life the character's internal thoughts and feelings and sharing them with the audience but not with other characters.
45:
Regarding the fragmentary, collage-like style of the piece, Rudkin later said, "To mediate such a quantity and complexity of material, I found myself logically evolving a variety of techniques, all of them thematic – and very much to do with radio broadcasting. (Looking at it now, I think it’s rather
41:
The project began in 1966, a year after Roger
Casement's body was repatriated to Ireland, as a commission for Rudkin to contribute to a radio series on historical rebels. It morphed into a play about Casement when he realized that the social and political climate of the country at the time bore
159:
praised the broadcast as a major success, with an innovative style that matched the complexity of the subject matter. "Through Norman Rodway's magnificent central performance as
Casement," wrote Reynolds, "both Mr Rudkin and his producer John Tydeman found the means of bringing the irony, the
163:"One of the great masterpieces of radio drama writing and directing," according to radio drama producer Alan Beck, who also noted its daring subject matter for the time, including political violence and frank depictions of homosexuality.
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observed that, according to scholars, the play's content was not always historically accurate, but nonetheless praised the writing, direction and performances to conclude that the broadcast was "a tour de force." Writer
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later that same year. It received negative reviews. "The potted history of
Ireland for 3,000 years is pantomimed with custard-pie subtleties and clownish acrobatics that can raise no laughs," said writer
154:
Rudkin's play drew parallels between the political context of
Casement's life and times with contemporary issues in 1973, including themes exploring the legacies of nationalism and violence. Radio critic
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praised it as "a rich, powerful, thickly plotted but always clear piece of writing...imaginative radio at its best," singling out Rodway's performance and the subtly of
Tydeman's production aesthetic.
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In an interview in 2015, Rudkin distanced himself from attempts to produce it for the stage. He characterized the theatre production as "... misconceived, and does not merit discussion."
205:
described it as "monumental", pointing out that the intention of the piece was clearly impressionistic and not intended to be wrote history..."a long, moving radio poem."
215:, expressed skepticism at the connection drawn between Casement's sexual orientation and his nationalism, but nonetheless described it as "a powerful text".
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criticized the work for a lack of accuracy, particularly with respect to
Casement's homosexuality and intersection with his growing natioanlism. Biographer
599:
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236:, a dance piece lead by Fearghus Ó Conchúir and inspired in part by the play. It was commissioned by the Arts Council of Ireland in 2016.
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364:"From Fragments to a Whole: Homosexuality and Partition in Cries from Casement as his Bones are Brought to Dublin, by David Rudkin"
185:, arguing that his work, albeit with poetic liberties, more accurately portrayed the inner life of the man and his motivations.
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strong parallels to that of
Casement's era. Rudkin utilized Casement's own diaries in the course of his research.
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expressed a similar sentiment, calling the play "near-fiction" but acknowledging it as compelling drama. Poet
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was more sympathetic to Rudkin's postulate. Rudkin subsequently replied to Inglis with a lengthy rebuttal in
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writer Kane Archer found it to be a powerful story undermined by its inherent radio-specific construction.
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sensuality, the political passion together in a work of totally admirable richness and force."
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that examines the life and controversial legacy of Irish nationalist and
British diplomat
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Archer, Kane (5 October 1976). ""Cries from
Casement" at the Project Arts Centre".
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Sight Unseen: Beckett, Pinter, Stoppard, and Other
Contemporary Dramatists on Radio
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David Rudkin: Sacred Disobedience : an Expository Study of His Drama 1959-96
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Binchy, MaeveC (3 October 1973). "Casement play gradually turns into farce".
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More Than a Music Box Radio Cultures and Communities in a Multi-media World
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on 4 February 1973 and has been hailed as a masterpiece of radio drama.
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Reynolds, Gillian (6 February 1973). "Cries from Casement on Radio 3".
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has described the play as "astonishing" and "regrettably overlooked".
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Barber, John (5 October 1973). "Macabre torrents of Irish history".
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Bolfarine, Mariana (November 2015). "Interview with David Rudkin".
390:
Bolfarine, Mariana (November 2015). "Interview with David Rudkin".
54:
The BBC broadcast of the play, on 4 February 1973, was produced by
511:"The Chameleon & the Kilt: The Complexities of Roger Casement"
460:"You've Got to Hide Your Love Away: Gay Radio, Past and Present"
550:
Thwaite, Anthony (8 February 1973). "Radio: Casement's Ghost".
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Portions of the broadcast's sound design was incorporated into
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494:
Woodforde, John (11 February 1973). "Sound of history".
338:"Cries from Casement as his Bones are Brought to Dublin"
565:
Rundall, Jeremy (11 February 1973). "Casement's Case".
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as Roger Casement. Other members of the cast include:
580:
Ferris, Paul (11 February 1973). "Casement Reopened".
415:. Liverpool: Liverpool university press. p. 115.
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Cries from Casement as His Bones are Brought to Dublin
18:
Cries from Casement as His Bones are Brought to Dublin
412:
The literary afterlives of Roger Casement, 1899-2016
755:"Record seat occupancy in 1975 theatre festival".
710:Marcus, Frank (7 October 1973). "Being politick".
244:A stage version of the play was performed by the
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253:. Another stage production debuted at the
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633:. Athens, Ohio: Ohio University Press.
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362:Bolfarine, Mariana (1 April 2016).
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257:in 1975. It ran a year later at
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629:Guralnick, Elissa S. (1996).
509:Rudkin, David (August 1973).
46:like a radio Citizen Kane.)"
535:"Out of the Air: Craven A".
29:. It was first broadcast on
21:is a radio play written by
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369:University of North Dakota
246:Royal Shakespeare Company
409:Garden, Alison (2020).
255:Dublin Theatre Festival
671:"The Casement Project"
644:Ó Conchúir, Fearghus.
312:Rudkin, David (1973).
286:"Cries from Casement"
801:British radio dramas
650:The Casement Project
646:"Coming Full Circle"
259:Project Arts Theatre
234:The Casement Project
598:(29 January 1998).
539:. 6 September 1973.
458:Beck, Alan (2006).
294:. 18 September 2017
675:Irish Arts Council
608:. pp. 49–53.
150:Critical Reception
100:Michael N. Harbour
90:, Heather Gibson,
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251:Maeve Binchy
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173:Brian Inglis
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140:Mary Wimbush
124:Irene Prador
96:Sheila Grant
68:Sean Barrett
58:and starred
56:John Tydeman
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23:David Rudkin
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263:Irish Times
207:Paul Ferris
136:David Valla
108:Fraser Kerr
104:John Hollis
84:Kevin Flood
72:Kate Binchy
37:Development
31:BBC Radio 3
796:1973 plays
790:Categories
272:References
218:Professor
177:B. L. Reid
680:20 August
655:20 August
606:Routledge
520:21 August
515:Encounter
479:16 August
428:16 August
182:Encounter
144:Joy Worth
132:John Tusa
50:Broadcast
261:, where
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375:30 July
347:30 July
298:30 July
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682:2024
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166:The
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