The Quare Fellow
| The Quare Fellow | |
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| Written by | Brendan Behan |
| Characters | Prison Chaplain Warder Crimmin Prisoner A (Hard Case) Prisoner B (The Man of Thirty) Prisoner C (The Boy from the Island) Prisoner D (The Embezzler) The Other Fellow Enoch Jenkinson Assistant Hangman Shaybo Second Warder Neighbour Mickser Holy Healey Chief Warder Dunlavin Cook Halliwell, 2nd Asst. Hangman Medical Orderly Warder Regan English Voice First Warder Scholar Prisoner in Isolation Principal Warder Lifer Prison Governor |
| Date premiered | November 9, 1954 |
| Place premiered | Pike Theatre, Dublin |
| Original language | English |
| Genre | tragicomedy |
| Setting | Mountjoy Prison, 1950s |
The Quare Fellow is Brendan Behan's first play, first produced in 1954.
The title is taken from a Hiberno-English pronunciation of queer, meaning "strange" or "unusual". In context, the word lacks the denotation of homosexuality that it holds today, although the word 'quare' is never used in the context of sexuality. The play does feature a gay character, but he is referred to as The Other Fellow.
The play is set in Mountjoy Prison, Dublin. The anti-hero of the play, The Quare Fellow, is never seen or heard; he functions as the play's central conceit. He is a man condemned to die on the following day, for an unmentioned crime. Whatever it is, it revolts his fellow inmates far less than that of The Other Fellow, a very camp, almost Wildean, gay man.
There are three generations of prisoners in Mountjoy including boisterous youngsters who can irritate both other inmates and the audience and the weary old lags Neighbour and "methylated martyr" Dunlavin.
The first act is played out in the cramped area outside five cells and is comedic, sometimes rather like an Irish episode of Porridge. After the interval, the pace slows considerably and the play becomes much darker, as the time for the execution approaches. The focus moves to the exercise yard and to the workers who are digging the grave for the soon-to-be-executed Quare Fellow.
The taking of a man's life is examined from many different angles: his fellow prisoners of all hues, the great and the good and the prison officers.
The play is a grimly realistic portrait of prison life in Ireland in the 1950s, and a reminder of the days in which homosexuality was illegal and the death penalty relatively common (35 people were executed between 1923 and 1954, about one every 10½ months). The play is based on Behan's own prison experiences, and highlights the perceived barbarity of capital punishment, then in use in Ireland. The play also attacks the false piety in attitudes to sex, politics and religion.
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