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Notes
1. Michael Billington's comments from the Guardian are posted at http://www.albemarle-london.com/weir.html
2. Alan Franks, ‘Ireland's Sober Voice’, The Times, 11 December 1999, Features. Cited in CitationCummings, ‘Homo Fabulator’, 304.
3. CitationCummings, ‘Homo Fabulator’, 303–12.
4. CitationMoroney, ‘The Twisted Mirror’, 269.
6. Les Gutman, review of This Lime Tree Bower by CitationConor McPherson, CurtainUp Magazine, 20 May 1999, Available from www.curtainup.com/limetree.html
7. CitationLyotard, The Postmodern Condition, xxiv.
8. CitationHutcheon, A Poetics of Postmodernism, 24.
9. CitationMcPherson, The Weir and Other Plays, 76. All quotations from the plays are from this edition and will be cited in parentheses in the text.
10. CitationBradby and Sparks, Mise en Scène, 111–12.
11. Brian Singleton, ‘Am I Talking to Myself?’, Irish Times, 19 April 2001, Features, Available from http://scripts.ireland.com/search/highlight.plx?TextRes+Conor … /fea2.ht
12. Ibid.
13. CitationConor McPherson, interview with Gerald C. Wood, in Wood, Citation Conor McPherson , 128.
14. See, for instance, Tim Adams's interview with McPherson, ‘So There's These Three Irishmen …’, Observer, 4 February 2001, Available from http://www.guardian.co.uk/Archive/Article/o,4273,4130097,00.html. Also Wood's interview with McPherson in Conor McPherson, 123–51.
15. CitationDromgoole, The Full Room, 187.
16. CitationMcPherson, Port Authority, 7.
17. McPherson, interview with Wood, in Conor McPherson, 134.
18. Wood, Conor McPherson, 29.
19. CitationBentley, The Brecht Commentaries, 59–60.
20. Ibid., 61.
21. Ibid., 34.
22. See CitationElsom, Post-war British Theatre; CitationInnes, Modern British Drama; also CitationShellard, British Theatre since the War. No such current of influence is recorded in the histories of Irish theatre.
23. CitationElsom, Post-war British Theatre, 113; CitationInnes, Modern British Drama, 113–14.
24. CitationInnes, Modern British Drama, 114.
25. CitationMcPherson, interview with Wood, in Conor McPherson, 132.
26. Ibid., 128.
27. Singleton, ‘Am I Talking to Myself?’
28. CitationMcPherson, interview with Wood, in Conor McPherson, 133.
29. See CitationGeis, Postmodern Theatric(k)s.
30. McPherson, in Tim Adams, ‘So There's These Three Irishmen …’
31. CitationLyotard, The Postmodern Condition, xxiv.
32. Ibid., xxiii.
33. Ibid., xxiv.
34. Ibid., 23.
35. CitationCummings, ‘Homo Fabulator’, 303.
36. McPherson, in Tim Adams, ‘So There's These Three Irishmen …’
37. CitationCummings, ‘Homo Fabulator’, 303.
38. See CitationMcPherson's note to St Nicholas in The Weir and Other Plays, 75–76; CitationCummings, ‘Homo Fabulator’; and McPherson, interview with Wood, in Conor McPherson.
39. CitationCummings, ‘Homo Fabulator’, 305.
40. CitationLyotard, The Postmodern Condition, 20–22.
41. See CitationCummings, ‘Homo Fabulator’, 308.
42. McPherson, St Nicholas, 75–76.
43. CitationCummings, ‘Homo Fabulator’, 307.
44. A woodcutter one day rescues an old man who as a reward gives him a watch which has the power to turn back time. The woodcutter sees no use for such a device until his beloved wife dies; then he begins to use the watch to travel back in time to be with her. Finally he goes back to her childhood and the watch breaks. He panics and tries to escape with her but is beaten by the villagers and left for dead. He is trapped in the past.
45. CitationCummings, ‘Homo Fabulator’, 307.
46. Wood, Conor McPherson, 119.