Tag Archives: The New Theatre

Review: Lockout at The New Theatre

LibertyHallIf you’ve walked past Liberty Hall lately then you’ll have noticed the eye-catching depiction of the 1913 Lockout. Naturally with the Centenary last month, much was done to celebrate such an important part in the formation of the working class population of Ireland, and Dublin in particular.

Ann Matthews’ stage portrayal manages to find a delicate balance between looking at the wider picture of the politics and key figures in the lockout and the effects this period had on the individual within the working class.

Katie O’Kelly carries the audience through the trials of the lockout with her depiction of devoted wife and mother Ellen (based on Matthews’ own grandmother) while Ian Meehan and Patrick O’Donnell interrupt Ellen’s story with diatribes as James Larkin and James Connolly respectfully.

The power of public speech was a powerful vector during the lockout as with most protests or demonstrations, and these diatribes add momentum to Ellen’s family life disintegration. Remember that 1913 was a world without the virality of social media and public speeches were key in ‘rousing the masses’ and encouraging action. This is something that struck home particularly well and I think this is where a stage adaptation can be especially powerful – the passion and ferocity of the speaker really comes across in a small theatre as opposed to literature or cinema.

For a more personal take on the lockout and a realisation of the full impact this time had on working class Dublin, Lockout provides a sensitive and moving account of one person’s experiences which in reality accounts for the experiences of thousands.

Lockout finishes its sell out run in the New Theatre on Oct. 19.

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Lockout at the New Theatre – Interview with Writer Ann Matthews

Currently playing at The New Theatre, I got on to the play’s writer Ann Matthews about what really set this production apart from all the ret.

Why do think it is such an important stage in our history?

ImageIt is only during the last two years that any interest has been expressed in the Lockout, by historians and the general public and it is to the credit of Pádraig Yeates and the Dublin City Archive who Published Capital in Conflict (this year) that the Lockout has been brought to the consciousness of the public.

More Importantly, Anthony Fox of the New Theatre saw the importance of this aspect of Dublin Working class history and he has created a space whereby the voice of working class women could be heard for the first time.  Both of us were motivated by the idea of a strong woman battling her way through the Lockout while using actual text written and spoken by  Connolly and Larkin. Fox then asked me to weave the powerful speeches of the Union leaders and weave it into a realistic story that encapsulates the experience of the 1913 Woman.

The Dublin working class of the early 20th century is generally seen as one-dimensional. In my play, I have used my family story and especially that my grandmother Ellen Byrne as a conduit to explain some of the many complexities of a rich and interesting working class of Dublin 1913.  Just two example, many Dublin working class men did not drink and many of them were avid theatregoers.  A fact little known about James Connolly and James Larkin is the neither of them drank, indeed they actively abhorred alcohol and did not allow it into Liberty hall. (They would I think be horrified by Arthur’s Day).

This year marks the centenary of the lockout, but do you feel that there are other reasons why Ireland should be commemorating the lockout at this time? Are there any similarities in our current state? 

 The most obvious similarities are the need today to provide food like the Penny Dinners for thousands of families who are struggling in the current recession to feed their children. Repossessions were rife in 1913 and, presently in Ireland Food Charities are supplying over 100,00 meals every day to families and the homeless, more then was supplied to the poor in 1913. Just two weeks ago, the Troika ordered the Irish Banks to speed up repossessions, and evictions, echoing the situation in Dublin in 1913 when thousands were evicted by landlords more interested in profit than humanity. Today, just as a hundred years later families face the terror of possible homelessness.   What Progress?

Do you think society has learned anything from the lockout? 

Once the Lockout ended, it was forgotten except by those who suffered through the months of misery and want. Many children suffered stunted growth as semi- starvation took its toll on their young bodies.  In the wake of the Lockout, the ITGWU bought Liberty Hall, but many of the workers, men and women had to leave Dublin to find work in the industrial cities of the UK, in Glasgow, Liverpool, Manchester, and Birmingham. Others joined the British Army. Once again, we are witnessing the emigration of our skilled workers.

What do you think are the biggest differences for women between the 1913 situation and today?

 Women today have the vote, they can buy their own homes, they are highly educated and in that sense, their lives could not have been imagined by women like Ellen Byrne in 1913. She would be amazed that her granddaughter (me) has a PhD, and has published books on women in Irish History, while her great- granddaughter is an engineer.  However, in the current economic climate, there are mothers who wake up every morning not knowing how they are to feed their children, and this daily nightmare is added to by the threat they may lose their homes, just like Ellen Byrne and her contemporaries 100 year ago.  This threat of losing one’s home exists across Irish society, as humiliation is once again heaped on working people.

Has it been difficult to represent the enormity of the lockout in a stage production?

The Lockout was a multifaceted event. In my play ‘Lockout’ I used my grandmother’s experience as the conduit to explain, and create insight and understanding of the experience of thousands of working class mothers in Dublin. The play is essentially a vehicle through which an audience can grasp how they coped, as they and their children were reduced to the point starvation, and how they kept their some of their children alive through a living nightmare. They were the heroes the Lockout, because they kept the next generation alive.  

Lockout plays at the New Theatre until October 19. More info here. 

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Review: A Portrait of the Artist as a Young Man at the New Theatre

To be honest with you, I’ve always described Joyce’s semi-autobiographical novel as a bit of a dose. Stephen Dedalus isn’t my most favourite person; I’m more of a ‘Bloomer’ myself. Yet Stephen’s story is integral to Ulysses and offers an insight into Joyce’s views of the artist and his attempts to fly by the nets flung at the soul of the artist – nation, language and church.

gi_image_thumbUlysses picks up where Portrait leaves off and most of the ground work for Stephen’s character building is done in Portrait so, unsurprisingly given the intensity of Stephen’s character – all that artistic angst, it can be heavy going. Adapted by Tony Chesterman and directed by Jimmy Fay; the New Theatre’s current stage production of Joyce’s first published novel provides the perfect insight into Joyce’s artistic discoveries, and is the ideal start to today’s Bloomsday celebrations.

The play travels chronologically through young Stephen’s life, each influential moment is captured and reproduced to build up to the artistic awakening that Stephen needed to go through in order to become the aspiring writer we meet up with again in Ulysses.

Knowing about Joyce’s life and the connection between him and Dedalus are helpful in understanding his work, but definitely not necessary. So, over-stating the autobiographical connections between Joyce and Stephen (the narrator persists in referring to him as Jim) and explaining chapter three’s ‘fire-and-brimstone-we’re-all-going-to-hell-for-eternity’ episode of sorts with a brief history lesson on the influences of the Catholic church during Joyce’s time, seemed to me taking a step too far to educate the audience on the life of Joyce. However, I have a good grounding in Joyce, and my theatre buddy who doesn’t have that benefit did say she found it helpful.

Performances from Lauren Farrell as the curious young Joyce and Katie O’Kelly in a variety of roles do not fail to impress. O’Kelly has the superb ability to morph her face into a variety of different expressions, and shone particularly as Aunt Dante in the Christmas dinner scene. For me, Charlie Hughes stole the show as Joyce’s Corkonian father as well as a terrifying and dominating rector in chapter three. Joyce’s characters are wonderfully well built and multi dimensional and I’d imagine a real joy for an actor to get hold of.

Chesterman has done a wonderful job adapting the novel to create an effective stage piece whilst also making a nod to Joyce’s artistic approaches at stages, for example Ithaca’s question and answer format makes an appearance and there’s a very conscious effort to include Joyce’s big passion – music, with singing and sound effects adding to the production. Thankfully the production manages to become its own piece of art, drawing inspiration from Joyce but also finding its own feet too.

The play is definitely worth going to, especially during ‘Bloom season’. It runs until June 22 in The New Theatre and you can find out more about performances here.

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