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The Hostage
An essential text in the development of modern British drama
92 pages, Hardcover
First published January 1, 1959
8 people are currently reading
273 people want to read
About the author
Brendan Behan
73 books155 followersEarly association with the Irish republican army and experiences in prison influenced works, including
The Quare Fellow
, the play of 1954, and the autobiographical
Borstal Boy
in 1958 of Brendan Francis Behan, writer.
Brendan Francis Behan composed poetry, short stories, and novels in English. He also volunteered.
A mother in the inner city of Dublin bore Brendan Francis Behan into an educated class family. Christine English, his grandmother, owned a number of properties in the area and the house on Russell street near Mountjoy square. Peadar Kearney, his uncle and author of song and the national anthem, also lived in the area. Stephen Behan, his father, acted in the war of independence, painted houses, and read classic literature to the children at bedtime from such sources as Émile Zola, John Galsworthy, and Henri René Albert Guy de Maupassant; Kathleen Behan, his mother, took them on literary tours of the city. From father, interest of Behan in literature came; his mother originated his political ideas. She politically acted in all her life and personally befriended Michael Collins. Brendan Behan lamented "The Laughing Boy" at the age of thirteen to Collins. His mother gave the affectionate nickname, the title, to Collins. Kathleen published "Mother of all the Behans," a collaboration with Brian Behan, another son, in 1984.
Peadar Kearney, uncle of Brendan Francis Behan, composed Amhrán na bhFiann , the national anthem. People best knew "The Patriot Game," the song of Dominic Behan, his also renowned brother; Brian Behan, another sibling, a prominent radical political activist, spoke in public, acted, and authored. Brendan and Brian shared not the same views, especially when the question of politics or nationalism arose. Brendan on his deathbed presumably in jest asked Cathal Goulding, then the chief of staff, to "have that bastard Brian shot—we've had all sorts in our family, but never a traitor!"
From a drinking session, Brendan Francis Behan at the age of eight years in 1931 returned home on one day with his granny and a crony, Ulick O'Connor recounts. A passerby remarked, "Oh, my! Isn't it terrible ma'am to see such a beautiful child deformed?" "How dare you", said his granny. "He's not deformed, he's just drunk!"
Brendan Francis Behan left school at 13 years of age to follow in footsteps of his father as a house painter.
Brendan Francis Behan composed poetry, short stories, and novels in English. He also volunteered.
A mother in the inner city of Dublin bore Brendan Francis Behan into an educated class family. Christine English, his grandmother, owned a number of properties in the area and the house on Russell street near Mountjoy square. Peadar Kearney, his uncle and author of song and the national anthem, also lived in the area. Stephen Behan, his father, acted in the war of independence, painted houses, and read classic literature to the children at bedtime from such sources as Émile Zola, John Galsworthy, and Henri René Albert Guy de Maupassant; Kathleen Behan, his mother, took them on literary tours of the city. From father, interest of Behan in literature came; his mother originated his political ideas. She politically acted in all her life and personally befriended Michael Collins. Brendan Behan lamented "The Laughing Boy" at the age of thirteen to Collins. His mother gave the affectionate nickname, the title, to Collins. Kathleen published "Mother of all the Behans," a collaboration with Brian Behan, another son, in 1984.
Peadar Kearney, uncle of Brendan Francis Behan, composed Amhrán na bhFiann , the national anthem. People best knew "The Patriot Game," the song of Dominic Behan, his also renowned brother; Brian Behan, another sibling, a prominent radical political activist, spoke in public, acted, and authored. Brendan and Brian shared not the same views, especially when the question of politics or nationalism arose. Brendan on his deathbed presumably in jest asked Cathal Goulding, then the chief of staff, to "have that bastard Brian shot—we've had all sorts in our family, but never a traitor!"
From a drinking session, Brendan Francis Behan at the age of eight years in 1931 returned home on one day with his granny and a crony, Ulick O'Connor recounts. A passerby remarked, "Oh, my! Isn't it terrible ma'am to see such a beautiful child deformed?" "How dare you", said his granny. "He's not deformed, he's just drunk!"
Brendan Francis Behan left school at 13 years of age to follow in footsteps of his father as a house painter.
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Displaying 1 - 22 of 22 reviews
December 21, 2014
The bells of hell go ting-a-ling-a-ling(Closing lines)
For you but not for he
Oh Death where is thy sting-a-ling-a-ling?
Or grave thy victory?
August 16, 2010
This play actually has a stage direction in it which states, "What happens next isn't very clear." So take that whimsy for what you will. The Hostage is a strong voice piece, but outside the context of the time in which it was written, the political situation being hashed out doesn't resonate too strongly with me as a reader, and so I feel something is lost in the final impact of its negative message about war and enmity.
Set in an Irish brothel that serves as a one-night jail to a charming British soldier, The Hostage does have a lot of fun with its characters and their allegiances. Anybody might be some sort of UK spy, and songs abound to disprove that. What can;'t be shaken, though, is the fact that the soldier will be executed by IRA forces come dawn. And the crew that runs and resides in the brothel comes to like the boy quite a lot. So will they allow him to die or save his life before morning?
That synopsis makes the play a little clearer than it actually plays onstage. The production I saw of this play (after having read it) was winning and pointed up the drama of the situation as best it could. But Behan has a tendency to wander pointlessly from character to character without tying them into the main action, and he also throws in a lot of singing of what I imagine are old Irish politico tunes (as well as just plain folksy songs), and none of that can really mean much to a modern audience/reader. Nor can a reader grasp what's motivating the characters because the world remains half-finished. We are expected to know the reasons for the political divide across the UK, and if we don't, we lose something in the final tragedy of the play. So while fun and frolicking, and dangerous and melancholy, I can't say The Hostage wants to let the other shoe drop, and so it ends up being an unsatisfying read (though a completely fine and watchable entertainment).
Set in an Irish brothel that serves as a one-night jail to a charming British soldier, The Hostage does have a lot of fun with its characters and their allegiances. Anybody might be some sort of UK spy, and songs abound to disprove that. What can;'t be shaken, though, is the fact that the soldier will be executed by IRA forces come dawn. And the crew that runs and resides in the brothel comes to like the boy quite a lot. So will they allow him to die or save his life before morning?
That synopsis makes the play a little clearer than it actually plays onstage. The production I saw of this play (after having read it) was winning and pointed up the drama of the situation as best it could. But Behan has a tendency to wander pointlessly from character to character without tying them into the main action, and he also throws in a lot of singing of what I imagine are old Irish politico tunes (as well as just plain folksy songs), and none of that can really mean much to a modern audience/reader. Nor can a reader grasp what's motivating the characters because the world remains half-finished. We are expected to know the reasons for the political divide across the UK, and if we don't, we lose something in the final tragedy of the play. So while fun and frolicking, and dangerous and melancholy, I can't say The Hostage wants to let the other shoe drop, and so it ends up being an unsatisfying read (though a completely fine and watchable entertainment).
September 5, 2014
This is the first Behan I've read, but it fit in easily with my wider knowledge of Irish Drama (Yeats, Gregory, Synge, Friel, etc etc etc...). Of course it's madly depressing if you think about the issues at hand. The obvious depressing thing happens at the end rather than (as sometimes occurs in Irish Drama) an unexpected even worse thing happening. On a page-by-page basis, though, there is quite a bit of humor and repartee. I found it much more entertaining than some twentieth-century playwrights who are widely considered "comic," such as Beckett and Ionesco. I will certainly go see it staged if I ever have the opportunity.
March 1, 2025
I don’t think this was the best introduction to Behan.
A fascinating conceit but it fell flat in most ways.
It felt self-indulgent & I eventually stopped keeping track of all of the songs.
A fascinating conceit but it fell flat in most ways.
It felt self-indulgent & I eventually stopped keeping track of all of the songs.
May 2, 2023
" كما يقول الاسكتلنديون، عديد من القليل يصنع الكثير "
" كما نقول نحن الايرلنديون، واحداً تلو الاخر، يبنون القلعة "
برندان بيهان Brendan Behan، كاتب مسرحي إيرلندي ولد وتوفي في دبلن. كتب القصص والمسرحيات الإذاعية إضافة إلى الشعر، واشتهر عالمياً بعد كتابته لمسرحية «الرهينة» (1958) The Hostage.
عاش في الأحياء الفقيرة، إذ كان والده دهاناً. طرد من المدرسة في عام 1936 فعمل مع والده، ثم انخرط في صفوف الجيش الجمهوري الإيرلندي IRA. ذهب إلى إنكلترة عام 1939 في مهمة كان هدفها نسف سفينة حربية في ميناء ليفربول، وألقي القبض عليه قبل تنفيذ المهمة بتهمة حيازة المتفجرات، وأرسل إلى إصلاحية للأحداث في بروستال في مقاطعة سَفوك Suffolk حيث بقي حتى إطلاق سراحه عام 1941. لدى عودته إلى إيرلندة تابع العمل مع الجيش الجمهوري الإيرلندي وتورط في عملية تبادل لإطلاق النار، أُرسل بسببها إلى سجن ماونتجوي Mountjoy في دبلن ليطلق سراحه في عفو عام سنة 1946. تعلم بيهان الإيرلندية في مدة سجنه، وهناكَ بدأ أيضاً بالكتابة ونشر أول قصيدة له بالإيرلندية عام 1946. ولدى إطلاق سراحه قضى مدة من الزمن في فرنسة ثم عاد إلى إيرلندة ليمارس مهنة الصحافة. كتب لصحيفة آيرش برِس Irish Press، وأعاد نشر ما حرر فيها في مجموعة بعنوان «اغتنم لحظتك وخذ أخرى» (1963) Hold Your Hour and Have Another، وقد زُيّنت المجموعة برسومات بيد الفنانة التشكيلية بياتريس سالكيلد Beatrice Salkeld التي كان بيهان قد تزوجها عام 1955.
Grave of Brendan Behan by Clíodhna Cussen, Glasnevin, Dublin. A bronze likeness of Brendan’s face was stolen from the vacant opening.
كانت أول مسرحية كتبها بيهان بعنوان «الشخص» (1956) The Quare Fellow، تدور أحداثها في سجن إيرلندي يشبه سجن ماونتجوي عشية شنق أحد السجناء، وتتمحور حول ردود فعل السجناء والسجانين تجاه الشنق المرتقب، يسجل فيها بيهان موقفاً ثورياً ومثيراً للجدل حول موضوع عقوبة الإعدام. وقد عرضت المسرحية في إيرلندة ثم في إنكلترة، ولاقت نجاحاً كبيراً.
أما المسرحية الأخرى الهامة فهي «الرهينة» التي تعد في أنضج أعماله المسرحية، وقد كتبها في نص أولي بعنوان «آن غيال» (1957) An Giall، ثم عدلها لتصير «الرهينة»، ويجمع فيها بين عدة أساليب مسرحية تشمل الأغاني والتهريج الحركي والتخيلات ليقدم نقداً لاذعاً للأوضاع الاجتماعية والحرب في إيرلندة. تدور أحداث المسرحية حول جنديٍ إنكليزي اختطف واحتجزه رهينةً الجيش الجمهوري الإيرلندي في منزل للدعارة في دبلن، وذلك للمقايضة عليه مقابل أحد رجال هذا الجيش المحكوم عليه بالإعدام. قدَّمت هذه المسرحية في إنكلترة بنجاح المخرجة جون ليتلوود Joan Littlewood. وقد أخذت شهرة بيهان بُعدها العالمي بظهور «الرهينة» على مسارح نيويورك.
كتب بيهان أيضاً «صبي بورستال» (1958) Borstal Boy وهي سيرة ذاتية صادقة عن الفترة التي أمضاها بيهان في إصلاحية الأحداث، كما كتب مجموعة من الطرف والمفارقات الإيرلندية بعنوان «جزيرة برندان بيهان» (1962) Brendan Behan’s Island، ومجموعة «نيويورك برندان بيهان» (1962) Brendan Behan’s New York. وفي الرواية كتب بيهان «الفار» (1964) The Scarperer عن مغامرات المهربين طورها بيهان عن قصة قصيرة كان قد نشرها عام 1953. وكتب مذكراته بعنوان «اعترافات ثائر إيرلندي» (1965) Confessions of an Irish Rebel. وقد سجَّل أعماله الأخيرة هذه على أشرطة تسجيل إذ كان قد بدأ في آخر أيامه يعاني صعوبة الكتابة بسبب مرض السكر الذي عاناه حتى وفاته.
" كما نقول نحن الايرلنديون، واحداً تلو الاخر، يبنون القلعة "
برندان بيهان Brendan Behan، كاتب مسرحي إيرلندي ولد وتوفي في دبلن. كتب القصص والمسرحيات الإذاعية إضافة إلى الشعر، واشتهر عالمياً بعد كتابته لمسرحية «الرهينة» (1958) The Hostage.
عاش في الأحياء الفقيرة، إذ كان والده دهاناً. طرد من المدرسة في عام 1936 فعمل مع والده، ثم انخرط في صفوف الجيش الجمهوري الإيرلندي IRA. ذهب إلى إنكلترة عام 1939 في مهمة كان هدفها نسف سفينة حربية في ميناء ليفربول، وألقي القبض عليه قبل تنفيذ المهمة بتهمة حيازة المتفجرات، وأرسل إلى إصلاحية للأحداث في بروستال في مقاطعة سَفوك Suffolk حيث بقي حتى إطلاق سراحه عام 1941. لدى عودته إلى إيرلندة تابع العمل مع الجيش الجمهوري الإيرلندي وتورط في عملية تبادل لإطلاق النار، أُرسل بسببها إلى سجن ماونتجوي Mountjoy في دبلن ليطلق سراحه في عفو عام سنة 1946. تعلم بيهان الإيرلندية في مدة سجنه، وهناكَ بدأ أيضاً بالكتابة ونشر أول قصيدة له بالإيرلندية عام 1946. ولدى إطلاق سراحه قضى مدة من الزمن في فرنسة ثم عاد إلى إيرلندة ليمارس مهنة الصحافة. كتب لصحيفة آيرش برِس Irish Press، وأعاد نشر ما حرر فيها في مجموعة بعنوان «اغتنم لحظتك وخذ أخرى» (1963) Hold Your Hour and Have Another، وقد زُيّنت المجموعة برسومات بيد الفنانة التشكيلية بياتريس سالكيلد Beatrice Salkeld التي كان بيهان قد تزوجها عام 1955.
Grave of Brendan Behan by Clíodhna Cussen, Glasnevin, Dublin. A bronze likeness of Brendan’s face was stolen from the vacant opening.
كانت أول مسرحية كتبها بيهان بعنوان «الشخص» (1956) The Quare Fellow، تدور أحداثها في سجن إيرلندي يشبه سجن ماونتجوي عشية شنق أحد السجناء، وتتمحور حول ردود فعل السجناء والسجانين تجاه الشنق المرتقب، يسجل فيها بيهان موقفاً ثورياً ومثيراً للجدل حول موضوع عقوبة الإعدام. وقد عرضت المسرحية في إيرلندة ثم في إنكلترة، ولاقت نجاحاً كبيراً.
أما المسرحية الأخرى الهامة فهي «الرهينة» التي تعد في أنضج أعماله المسرحية، وقد كتبها في نص أولي بعنوان «آن غيال» (1957) An Giall، ثم عدلها لتصير «الرهينة»، ويجمع فيها بين عدة أساليب مسرحية تشمل الأغاني والتهريج الحركي والتخيلات ليقدم نقداً لاذعاً للأوضاع الاجتماعية والحرب في إيرلندة. تدور أحداث المسرحية حول جنديٍ إنكليزي اختطف واحتجزه رهينةً الجيش الجمهوري الإيرلندي في منزل للدعارة في دبلن، وذلك للمقايضة عليه مقابل أحد رجال هذا الجيش المحكوم عليه بالإعدام. قدَّمت هذه المسرحية في إنكلترة بنجاح المخرجة جون ليتلوود Joan Littlewood. وقد أخذت شهرة بيهان بُعدها العالمي بظهور «الرهينة» على مسارح نيويورك.
كتب بيهان أيضاً «صبي بورستال» (1958) Borstal Boy وهي سيرة ذاتية صادقة عن الفترة التي أمضاها بيهان في إصلاحية الأحداث، كما كتب مجموعة من الطرف والمفارقات الإيرلندية بعنوان «جزيرة برندان بيهان» (1962) Brendan Behan’s Island، ومجموعة «نيويورك برندان بيهان» (1962) Brendan Behan’s New York. وفي الرواية كتب بيهان «الفار» (1964) The Scarperer عن مغامرات المهربين طورها بيهان عن قصة قصيرة كان قد نشرها عام 1953. وكتب مذكراته بعنوان «اعترافات ثائر إيرلندي» (1965) Confessions of an Irish Rebel. وقد سجَّل أعماله الأخيرة هذه على أشرطة تسجيل إذ كان قد بدأ في آخر أيامه يعاني صعوبة الكتابة بسبب مرض السكر الذي عاناه حتى وفاته.
December 27, 2025
2.5 stars. Having been unimpressed with Behan’s two other longer plays, I decided to listen to a performance of this one on the 3-LP recording starring Julie Harris and Geoff Garland. Maybe hearing the musicality of the language and the songs would spark my interest? A bit.
This play, like all of Behan’s others, is dated at best and embarrassing at worst. As in The Quare Fellow, we have a play centered on the execution of a prisoner we never see, and also as with The Quare Fellow and Richard's Cork Leg, most of Act I seems like filler, presenting us with a sting of stereotypes and bawdy banter that only tangentially relates to socio-political themes, almost as an afterthought. At least in this play, Acts II and III deliver more meat than the other long Behan works. The songs were the best part—but I would much rather just listen to those separate from the play.
This play, like all of Behan’s others, is dated at best and embarrassing at worst. As in The Quare Fellow, we have a play centered on the execution of a prisoner we never see, and also as with The Quare Fellow and Richard's Cork Leg, most of Act I seems like filler, presenting us with a sting of stereotypes and bawdy banter that only tangentially relates to socio-political themes, almost as an afterthought. At least in this play, Acts II and III deliver more meat than the other long Behan works. The songs were the best part—but I would much rather just listen to those separate from the play.
October 14, 2025
Seriously very good, would love to see a production of this. Very confusing read though, it would definitely be more understandable on stage. I would kill to go back in time just to see Bob Dylan running down to the playhouse they were showing this at in New York just to see Brendan Behan drunkenly yell at the players in the production. It’s so Bob Dylan. Also, name inspo for Fontaine’s DC second studio album so that’s pretty lit.
December 25, 2025
This postmodern play is set in a shabby Dublin lodging house. It's run by a man known as "Monsewer," who believes the Civil War still raging and himself to still be a General in the IRA, and staffed by a retired soldier, Pat, and a ragtag group of assorted eccentrics, prostitutes, and homosexuals. The play tells (in a rather ramshackle, drunkenly cheerful way) the story of a young British soldier held prisoner as a retaliatory measure while an IRA man awaits execution in Belfast. What begins as farce soon turns into an absurdist tragedy, a chaotic blend of song, dance, and sudden death.
Behan’s stage world is anarchic and unpredictable, yet full of humanity. The play bursts with black humor that mocks everyone and everything, including the politics it depicts. The Irish rebels, the British authorities, the Royal family ("I think they're lovely, especially Peter Townsend and Uffa Fox"), the Bible, the Church, and the bystanders are all skewered with equal relish. Asides to the audience, sudden songs, and Pirandello-like references to the author himself ("anti-British, anti-Irish, and would sell his mother for a pint") add to the theatrical chaos. But Pat, like Shakespeare's truth-telling Fool, gets the sharpest lines. Anytime sincerity or politics threaten to break out, Pat is there to deflate it with a straightforward, dry quip. Irish, he says, requires an Oxford education; as a poor Dublin man, he doesn't understand a word of it. He defines an Anglo-Irishman as "a Protestant with a horse," noting "there's not all that much difference" between an Englishman and an Irishman. One character calls another a poor sinful person, she responds with "you're a half-time whore;" prompting Pat's observation, "Compliments pass when the quality meet." He points out that the IRA’s ammunition seller was engaged to his sister-in-law, highlighting the everyday familiarity of Irish life, which renders the violence absurd. Yet the absurdity is what makes everything teeter on the edge of despair. The regular folk may not have war on their minds, but the bloodshed is real. The jokes, often ribald or absurd, conceal resignation at the endless cycle of violence and betrayal. Behan’s gift lies in turning gallows humor into tragic poetry. The captured British soldier, Leslie, is neither demonized or glorified; he is young, naive, and caught in forces he cannot control, but also a imperialist and racist. The Irish characters oscillate between pity and contempt, comradeship and hostility. In the end, all are victims of an inhuman political logic that makes individuals irrelevant.
Behan’s stage world is anarchic and unpredictable, yet full of humanity. The play bursts with black humor that mocks everyone and everything, including the politics it depicts. The Irish rebels, the British authorities, the Royal family ("I think they're lovely, especially Peter Townsend and Uffa Fox"), the Bible, the Church, and the bystanders are all skewered with equal relish. Asides to the audience, sudden songs, and Pirandello-like references to the author himself ("anti-British, anti-Irish, and would sell his mother for a pint") add to the theatrical chaos. But Pat, like Shakespeare's truth-telling Fool, gets the sharpest lines. Anytime sincerity or politics threaten to break out, Pat is there to deflate it with a straightforward, dry quip. Irish, he says, requires an Oxford education; as a poor Dublin man, he doesn't understand a word of it. He defines an Anglo-Irishman as "a Protestant with a horse," noting "there's not all that much difference" between an Englishman and an Irishman. One character calls another a poor sinful person, she responds with "you're a half-time whore;" prompting Pat's observation, "Compliments pass when the quality meet." He points out that the IRA’s ammunition seller was engaged to his sister-in-law, highlighting the everyday familiarity of Irish life, which renders the violence absurd. Yet the absurdity is what makes everything teeter on the edge of despair. The regular folk may not have war on their minds, but the bloodshed is real. The jokes, often ribald or absurd, conceal resignation at the endless cycle of violence and betrayal. Behan’s gift lies in turning gallows humor into tragic poetry. The captured British soldier, Leslie, is neither demonized or glorified; he is young, naive, and caught in forces he cannot control, but also a imperialist and racist. The Irish characters oscillate between pity and contempt, comradeship and hostility. In the end, all are victims of an inhuman political logic that makes individuals irrelevant.
July 26, 2025
Pretty enjoyable read, obviously much drier on the page rather than the stage, but still very funny and poignant. Probably could be described as a romp, which is quite impressive considering the subject matter. A lot of issues addressed and skewered, several interesting characters, and probably some good songs when put on. Would love to see it performed but would be surprised if I ever get the opportunity.
March 11, 2025
I read this because it acted as an inspiration for The Crying Game, a film I studied recently and loved. To my surprise it's more of a satirical comedy than I expected, and much more of the music hall theatre tradition. I didn't particularly like a twist in the ending, but was touched by certain parts of the story.
June 23, 2018
تتأرجح كتابة المؤلف بين النقد السياسي لكلا الدولتين ايرلندا وبريطانيا وبين الموقف الانساني الذي عبر عنه من خلال الوقوف بجانب الشاب الصغير المسكين الذي وقعت في حبه الخادمة الأيرلندية
لايجب ان نترك للحرب مجال لتدمير انسانيتنا يكفيها خراب العمران وقتل الابرياء
لايجب ان نترك للحرب مجال لتدمير انسانيتنا يكفيها خراب العمران وقتل الابرياء
December 13, 2023
Dark comedy, drag queens, whores, terrorists, patriots. Subtle and not so subtle historical and cultural allusions. Can read quickly for story or line by line for the "extras." Would like to see this live.
April 28, 2019
I just don't like Brendan Behan's stuff. Ireland has produced a ton of great writers, but Behan is not one of them, IMO.
Read
October 23, 2020The Hostage
September 29, 2024
A great intro into the world of Brendan Behan
July 18, 2009
A good dramatic scenario that dissipates in the playwright's effort to be clever. Cleverness can kill a good story for the sake of a few gems, most of which Behan makes reliant on the audience's knowledge of Irish popular music (pre-1960) and IRA politics. Good comedy is oftentimes an absolute contemporary of its production, yes, but Behan seems incapable of making any stance on his chosen issues. The beliefs he is most certain of are that the English and the Irish both consider him, Brendan Behan, to be a traitor.
He makes fun of all parties involved, a few good ribs at the wealthy and the lower middle class, the religious, and yet the homosexuals, the poor, the whores, and the handicapped central character are scattered about the plot without any conscious antithetical relationship to the elevated figures of fun.
I can't imagine how an audience member would ever be able to figure out what's going on on-stage because the intrigues are explained in the text, not the action or dialogue.
The strongest attribute to recommend this play to anyone is that it is quick and trifling, and thus would not demand much of any reader's time.
He makes fun of all parties involved, a few good ribs at the wealthy and the lower middle class, the religious, and yet the homosexuals, the poor, the whores, and the handicapped central character are scattered about the plot without any conscious antithetical relationship to the elevated figures of fun.
I can't imagine how an audience member would ever be able to figure out what's going on on-stage because the intrigues are explained in the text, not the action or dialogue.
The strongest attribute to recommend this play to anyone is that it is quick and trifling, and thus would not demand much of any reader's time.
February 8, 2015
This being the first Behan play I have read I have to admit that I really liked it. I have seen some other reviews where people have said that you need a good knowledge of Irish History to get this play but I don't think so-that being said I am Irish so maybe I am unqualified to comment on this. However I think the play is more satirising war rather than commenting on the English/Irish conflict. There is the juxtaposition of Leslie (the English Soldier) and the Belfast Boy. Both of whom are two innocent casualties of war on both sides of the conflict. Both young and inexperienced fighting for a cause which they don't really understand.
For me this play borders on theatre of the absurd though is a little bit more coherent. It is fast paced and quite crazy in parts with characters bursting into song at any given chance. The characters are all larger than life and quite manic but I think this works with this style of theatre. This play is all in the staging and I think Behan gives the director plenty of room for creativity and interpretation which is what makes this an exciting piece.
For me this play borders on theatre of the absurd though is a little bit more coherent. It is fast paced and quite crazy in parts with characters bursting into song at any given chance. The characters are all larger than life and quite manic but I think this works with this style of theatre. This play is all in the staging and I think Behan gives the director plenty of room for creativity and interpretation which is what makes this an exciting piece.
December 9, 2009
Was looking for Borstal boy, but could only find The Hostage. Filled with lyric and song, The Hostage is more like a musical than a drama, but it´s poignant and funny, and has that famed Irish wit and black humor backing it up. I´d definitely read more Behan, should I be able to locate some.
December 25, 2025
Very confusing for me, also very political. Too many songs DNF?
August 15, 2012
some good moments...
April 5, 2014
I can see where Joe Orton picked up some of his ideas from - in a line: Outcasts of the world unite
November 20, 2016
I've heard a lot of about this, and I like Behan's writing. Still, I am not very good at reading plays.
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