Analysing Setting in 'Philadelphia, Here I Come!'

Analysing setting in Philadelphia, Here I Come! is an important step in understanding the nuances and subtleties of Brian Friel’s play.

In this article, we will explore the immediate setting of the kitchen and bedroom of Gar O’Donnell’s home, the wider setting of the play in the fictional town of Ballybeg, and the wider significance of rural Ireland in the 1960s. All of these settings are then set in contrast to the exciting opportunity presented by big city life in Philadelphia, USA.

This study guide is written to support teachers and students of English Literature, particularly those studying ‘Philadelphia, Here I Come!’ as their drama text for CCEA’s GCSE English Literature Unit 2 Drama and Poetry module.

If you are studying Brian Friel’s ‘Philadelphia, Here I Come!’ then check out the articles linked at the bottom of this one, examining the character of Gar, the context of the play and a set of free, printable resources to support teachers.

The play's opening stage directions

In the opening stage directions of ‘Philadelphia, Here I Come!’ by Brian Friel, the setting is meticulously described, offering insights into the play’s atmosphere and the characters’ lives. The time is the present, and the location is the small village of Ballybeg in County Donegal, Ireland. The action unfolds on the night before and the morning of Gar’s departure for Philadelphia, setting the stage for a significant transition in the protagonist’s life.

Take a look at the opening stage directions:

Time: the present in the small village of Ballybeg in County Donegal, Ireland. The action takes place on the night before, and on the morning of, Gar’s departure for Philadelphia.

When the curtain rises the only part of the stage that is lit is the kitchen, i.e. the portion on the left from the point of view of the audience. It is sparsely and comfortlessly furnished – a bachelor’s kitchen. There are two doors; one left which leads to the shop, and one upstage leading to the scullery (off). Beside the shop door is a large deal table, now set for tea without cloth and with rough cups and saucers. Beside the scullery door is an old-fashioned dresser. On the scullery wall is a large school-type clock.

Stage right, now in darkness, is Gar’s bedroom. Both bedroom and kitchen should be moved upstage, leaving a generous apron. Gar’s bedroom is furnished with a single bed, a wash-hand basin (crockery jug and bowl), a table with a record-player and records, and a small chest of drawers. These two areas – kitchen and Gar’s bedroom – occupy more than two-thirds of the stage.

Staging 'Philadelphia, Here I Come!'

Brian Friel gives very clear and detailed stage directions, indicating how the space should be used.

On the upstage left is the set of the kitchen, on upstage the right is Gar’s bedroom, and when another location is used, the downstage is used, closest to the audience. This rarely happens, as the majority of the action of the play happens in the O’Donnell house. The other scenes, for example when Gar and Kate are out walking, or when Gar approaches Senator Doogan in Episode 1, the front of the stage is used to recreate those locations. It is important to note that these scenes outside the house all take place in Gar’s memory, so perhaps this is why a set is not created. This gives a more ethereal quality to the memories.

The fluid portion of the front of the stage (referred to by Friel as the downstage ‘apron’) represents various locations from Gar’s memory. It serves as a dynamic backdrop, suggesting the influence of external forces on Gar’s life. In Episode I, it represents a room in Senator Doogan’s home, emphasising the societal expectations and pressures on Gar.

S.B. O'Donnell's kitchen

The kitchen of the O’Donnell house is the primary setting of ‘Philadelphia, Here I Come!’

As we read in the opening stage directions, the kitchen is the only part of the stage initially illuminated.

The kitchen is sparsely and comfortlessly furnished, reflecting the life of a bachelor.

The absence of a cloth on the large deal table, set for tea with rough cups and saucers, underscores the simplicity and lack of adornment in Gar’s life.

The two doors, one leading to the shop and the other to the scullery, provide physical boundaries that mirror the psychological and emotional boundaries within Gar. In other words, his whole life is contained within the walls of these rooms. He is restricted by them, and is desperate to escape.

Analysis of the kitchen

The kitchen represents the domestic world in which Gar is suffocating. The domestic is often associated with comfort and love, but in ‘Philadelphia, Here I Come!’, the kitchen is comfortlessly furnished’, reflecting the life of a bachelor. Gar and his father, two single men, live in this cold and simple environment: the loss of Gar’s mother when he was a baby is felt in the furnishing and in the routines of the characters.

While Madge’s presence fills the gap to an extent, she is an employee rather than a family member, and her input is not always well received. She has cooked and cleaned for S.B., and has raised Gar, but her personal touches have not extended to the decor of the kitchen.

The clock on the wall symbolises S.B.’s rigid attitudes to time and work. Even on his last shift in his father’s shop, we learn that Gar has to work right up until the bitter end.

The two doors, one leading to the shop and the other to the scullery, provide physical boundaries that mirror the psychological and emotional boundaries within Gar. His life is lived out within the confines of the kitchen, the shop and his bedroom. Beyond these three spaces, we see little of his life.

When saying his goodbyes to other characters, Friel holds to the unit of place, keeping the setting firmly the same in the O’Donnell house.

Gar's bedroom

The bedroom on stage right, initially in darkness, is Gar’s private space.

It is furnished with a single bed, a wash-hand basin with crockery jug and bowl, a table with a record-player and records, and a small chest of drawers.

This space represents the inner sanctum of Gar’s thoughts and emotions, contrasting with the public facade presented in the kitchen.

The bedroom being in darkness initially symbolises the hidden aspects of Gar’s character, emphasising the duality between the public and private Gar.

Analysis of the bedroom

The dual spaces of the kitchen and Gar’s bedroom also reflect the internal conflict within Gar. The division between Public Gar and Private Gar is not only spatial but also psychological. The kitchen, representing Public Gar, is where the external interactions occur, and it is here that the contrast between the seen and the unseen, the known and the hidden, is most evident. The bedroom, on the other hand, is the realm of Private Gar, where the unexpressed thoughts and emotions reside. The presence of two Gars symbolises the internal struggle and the complexity of human nature.

There is one obvious symbol present in Gar’s bedroom: his record player.

The record player

Firstly, the record player. This represents Gar’s youth. As a 25 year old, Gar is part of a generation with very different desires and attitudes to those of S.B.’s generation. The generation gap is one of the big problems for Gar: he wants a more ‘rock and roll’ lifestyle, a freedom from the restrictions of Ballybeg, County Donegal and Ireland. During the 1960s, while England and America were in the middle of ‘free love’, pop culture and new thinking in regard to religion, culture and morality, Ireland was very much still controlled by the Catholic Church and a moral code set by an older generation. S.B. epitomises this older generation, and his

The setting of Ballybeg

The significance of Ballybeg as a setting is vital in understanding the play’s context. The prefix ‘Bally’ means ‘town’ or ‘settlement’ in Irish, and the suffix ‘beg’ means small creating the perfect name for this fictional location.

Ballybeg, a small village in County Donegal, becomes more than just a geographical location; it becomes a microcosm of the broader themes in the play. The provincial setting implies a sense of limitation and stagnation, suggesting that escape and change are necessary for personal growth. The departure for Philadelphia becomes not just a physical journey but a symbolic one, representing the pursuit of opportunities beyond the constraints of Ballybeg.

The carefully crafted stage directions in ‘Philadelphia, Here I Come!’ lay the foundation for understanding the play’s themes and characters. The settings of Ballybeg and the O’Donnell house/kitchen serve as more than mere physical spaces; they become symbolic representations of the characters’ internal and external conflicts, reflecting the broader themes of escape, self-discovery, and societal expectations.

Ireland in the 1960s as a setting for 'Philadelphia, Here I Come!'

The depiction of the fictional town of Ballybeg in ‘Philadelphia, Here I Come!’ is intrinsically linked to the real-world context of Ireland in the 1960s. The historical, social, cultural, and religious aspects of this era significantly influence the characters and the overall atmosphere of the play.

Historical context

Ireland in the 1960s was undergoing a period of transition and change. The country was gradually moving away from a predominantly agrarian and traditional society towards a more modern and industrialised one. Economic challenges, emigration, and the impact of global forces were shaping the landscape of Irish life. Gar’s decision to leave for Philadelphia reflects the larger trend of Irish emigration during this period, driven by economic hardships and a quest for a better life abroad.

The setting of the play, within the kitchen of his house, reflects the limited life and restricted opportunities for young people in 1960s rural Ireland.

Social context

The social fabric of Ireland in the 1960s was marked by conservative values, close-knit communities, and a strong influence of Catholicism. The small village of Ballybeg encapsulates the close community ties and the sometimes suffocating nature of rural life. The emphasis on the bachelor’s kitchen, sparsely furnished and without adornments, suggests a simplicity that aligns with traditional Irish values. The societal expectations placed on individuals, especially concerning family and community, contribute to the tension and conflict within Gar’s character.

Cultural context

Cultural identity and a sense of belonging are integral to the play’s exploration of Ballybeg. The village becomes a microcosm of Irish culture, with its own traditions, rituals, and interpersonal dynamics. The use of a large school-type clock on the scullery wall hints at the structured nature of Irish society, perhaps echoing the influence of institutionalised values. Gar’s struggle with his identity and the societal roles imposed upon him is emblematic of the broader cultural shifts occurring in Ireland during this time.

Religious context

Catholicism had a profound impact on Irish society, influencing social norms, moral values, and individual behaviours. The conservative Catholic ethos is reflected in the play through the setting of the kitchen, a space where communal values are upheld. Gar’s internal conflict, manifested through the duality of Public Gar and Private Gar, can be seen as a reflection of the tension between adhering to societal expectations, shaped by Catholicism, and the desire for personal autonomy. The presence of the Canon in the O’Donnell kitchen reflects the presence of the church in all aspects of life in Ireland at this time.

Click here to read more about the context of 'Philadelphia, Here I Come!' in 1960s Ireland.

In connecting the fictional setting of ‘Philadelphia, Here I Come!’ to the real-world context of Ireland in the 1960s, Brian Friel delves into the complexities of society, and the clash between tradition and modernity. Ballybeg becomes a metaphor for the broader Irish experience during this era, making the play a poignant commentary on the challenges of navigating personal identity in the face of societal and cultural shifts.

Questions to examine the settings and staging of 'Philadelphia, Here I Come!'

What is the primary setting of ‘Philadelphia, Here I Come!’ as described in the opening stage directions?
Describe the furnishing of the kitchen in the play. How does it reflect the character of SB O’Donnell?
Identify the two doors mentioned in the stage directions and their respective destinations. How do these physical elements contribute to the play’s main themes and characters?
Where is Gar’s bedroom located on stage, and what key elements furnish this space?
How does the setting of Ballybeg serve as a microcosm reflecting broader themes within the play?
Explore the symbolic meaning of the clock on the scullery wall. How does it contribute to the overall atmosphere and themes of the play?
In what ways does the setting of ‘Philadelphia, Here I Come!’ tie into the historical, social, cultural, and religious contexts of Ireland in the 1960s?

Analysing Setting in ‘Philadelphia, Here I Come!’