Marina Carr Analysis

Other Literary Forms

(Critical Edition of Dramatic Literature)

Marina Carr is known most extensively for her work in drama, but she has also written a number of other works that have attracted critical attention. Her short story “Grow Mermaid” won the Hennessy Short Story Prize. Another work, an essay entitled “Dealing with the Dead,” was published in the Irish University Review: A Journal of Irish Studies (1998).


(Critical Edition of Dramatic Literature)

Although Marina Carr is a relatively recent arrival to the world of the theater, she has become very well known and widely celebrated for her work in Irish drama. The Mai won the Dublin Theatre Festival Best New Irish Play Award (1994-1995), and Portia Coughlan won the nineteenth Susan Smith Blackburn Prize (1996-1997). She has been offered several positions as writer-in-residence at Trinity College in Dublin (1998-1999) and Dublin City University (1999-2000). Her Plays: One, a collection, was published by Faber and Faber as part of their acclaimed Irish dramatists series. Carr also received the esteemed E. M. Forster Award from the American Academy of Arts and Letters.


(Critical Edition of Dramatic Literature)

Hurwitt, Robert. “The Healing Stage: Theater Offers Escape and Necessary Communion.” San Francisco Chronicle, September 30, 2001. Hurwitt describes in detail the performance of Carr’s By the Bog of Cats at San Jose Repertory Theatre. He sees Carr’s play as a rural Irish Medea that imagines Euripides’ ancient tragedy in the context of the pain of the dispossessed outsider and deserted child. He particularly lauds Holly Hunter’s portrayal of Carr’s heroine, Hester Swane.

King, Robert L. “The Irish and Others.” North American Review 285, no. 6 (November/December, 2000): 43-47. King reviews Carr’s play On Raftery’s Hill, describing how the Irish dramatist, in particular, manages to gain prominence in the theater community by his or her portrayal of brutality and extravagance. He sees the typical Irish drama as relying on cultural symbols to maintain the empathy of Irish audiences while ensnaring foreign audiences with its sheer audacity of presentation. What makes this article particularly interesting is King’s obvious familiarity with Carr’s development as a dramatist.

King, Robert L. “Life in the Theater.” North American Review 284, no. 2 (March/April, 1999): 45-48. King discusses the Dublin Theatre Festival of 1999, which featured such works as Carr’s By the Bog of...

(The entire section is 525 words.)