He was imprisoned for two years in a reformatory in Borstal, England, an experience that he wrote about in his memoir Borstal Boy (1958). In 1939 he was arrested in Liverpool for possession of explosives: he had planned to mount a single-man mission to blow up a British warship in the Liverpool docks. Behan’s uncle Peader Kearney wrote the “Soldier’s Song,” which became the Irish national anthem, while his mother was also a passionate Republican.īehan joined the Fianna, a Republican youth organization through which the IRA recruited members, and he became involved in the IRA when he was sixteen. His father worked as a house painter, a trade in which his son also trained, and he was active within the Irish-Catholic community in Dublin as a labor leader and an Irish Republican Army (IRA) soldier. AUTHOR BIOGRAPHYīrendan Behan was born February 9, 1923, in Dublin, Ireland, into a working-class Irish-Catholic family that had long been involved in the Republican movement. The play is especially important because it represents the intersection of British and Irish theater that occurred prior to the escalation of hostilities in Northern Ireland. It is a key text of the Absurdist theater movement, a movement that influenced later generations of playwrights such as Tom Stoppard and Harold Pinter. Littlewood tried to act and direct her plays in a way that would break down the “fourth wall” between actors and audience. The play is written in a non-realist style characters frequently burst into song and sometimes into song-and-dance routines, and Behan consistently tries to undercut seriousness with humor.

The British soldier is held prisoner in a rough-and-ready Dublin lodging house that also functions as a brothel, and while he is held there, the prisoner’s presence causes much discussion about past and present Irish nationalism and Britain’s involvement in colonial affairs in general. The IRA plans to use the hostage as a bargaining chip for the release of an IRA prisoner who is due to be executed in Belfast the following morning.

The play’s structure is loose and some of the dialogue comes straight out of on-the-spot improvisations, but the basic plot revolves around the IRA’s kidnaping of a British soldier. The work has subsequently become one of the pillars upon which Behan’s reputation rests, and the original Littlewood production has since become recognized as evidence of the Theater Workshop’s important role in Postwar British theater.

The Hostage received mixed reviews upon its debut, but as Littlewood’s Theater Workshop became increasingly well-known and respected, interest in the original production increased. The premiere of The Hostage opened on the 14th of October, 1958, at Littlewood’s Theater Royal in Stratford, London. Following the success of that production, Behan translated the play into English and Joan Littlewood, the innovative director of the Theater Workshop in London agreed to direct it. Stephen’s Green in Dublin, Ireland, in 1957. Behan’s absurdist tragi-comedy, The Hostage, was originally written in Irish Gaelic and performed in that language as An Giall at the Darner Hall, St.

The hostage