She may live in Wicklow these days but actor Andrea Kelly cut her teeth on the Galway theatre scene with the City’s vibrant Youth Theatre.
Now, the Corofin native, who has worked with local companies Theatrecorp and Druid and with Dublin’s Abbey and Gate, has returned to her old stomping ground with the Swedish play, Witness, which she has directed and will be performing for this year’s Galway Theatre Festival.
The one-woman play, being presented by Andrea’s company, Ór Productions, will appeal to people who are into theatre, people with an interest in human rights and those who are working in therapy or attending as clients, she says.
Witness is set in Sweden after the Yugoslav war and features an Interpreter who translates survivors’ accounts for a therapist as part of a treatment programme. The play examines crimes against humanity and also the personal struggles of those involved in helping the survivors.
“The interpreter becomes too involved with one of the clients,” says Andrea, adding that “this is also a play about listening and what we hear”,
Witness explores the fine line between client and professional but Andrea stresses that while it deals with serious issues, it’s not about war and is a play that “has a lot of laughs”.
There are so many images in the play, and these allow members of the audience to put themselves in the characters’ shoes, she observes.
Andrea, who has a degree in acting from Trinity College, Dublin, performed Witness recently at the Human Rights Centre at NUIG, as part of her attempts to open up a relationship between the arts and human rights.
The role of arts in exploring human rights is something she has long supported through her work. In 2013, shortly after returning from London where she had lived for six years, Andrea organised a reading of Patricia Burke Brogan’s groundbreaking play Eclipsed about Ireland’s Magdalen laundries. That took place at Druid Theatre on International Women’s Day. Andrea produced and directed that reading, and also played the character of Brigit while heavily pregnant with her second child.
Now based in Wicklow with her husband and two children, she is currently appearing in Madam de Markievicz on Trial at Dublin’s New Theatre. Written by Ann Matthews who wrote the sell-out show, Lockout, Madame de Markievicz on Trial is a drama about Constance Markievicz exploring an event in Dublin at Easter in 1916 when a policeman was fatally shot. It is set in a courtroom and a prison cell during the autumn of 1917 and the dialogue is largely based on speeches made by Markievicz during this time.
Andrea will go straight from that to the Galway Theatre Festival with Witness, which she is performing with Ór. Andrea is looking forward to exploring the style of play she will stage with her new company.
“It won’t always be heavy,” she says but adds, “Witness was there and it’s wonderful and relevant”.
Witness, written by Swedish playwright Cecilia Parkert and translated by Kevin Haliwell, will be staged at An Taibhdhearc next Monday and Tuesday, May 4 and 5 as part of Galway Theatre Festival. Booking at An Taibhdhearc Box Office, 091-563600 or at www.galwaytheatrefestival.ie.
Marking Baboró’s birth as children’s festival turns 25
Baboró Children’s Arts Festival, which marks its 25th anniversary this year, changed the face of arts in Ireland by putting young people front and centre. “Until then, there wasn’t any theatre for children in Ireland, unless it was educational,” recalls Patricia Forde, a driving force in establishing Baboró.
“Theatre existed, but it wasn’t art. We brought in companies from Italy and Spain whose shows were just about art, not education. And they were beautiful.”
From the get-go, Patricia loved that companies created work specifically for certain age groups – toddlers for instance – that focused on their stage of development.
Baboró grew out of Galway Arts Festival and it reflected a changing audience dynamic.
In the early days of the Arts Festival, when Ollie Jennings programmed it, Patricia worked in the box office. The audience then was made up mostly of single people, many of them students and backpackers, she recalls. By the time she took over as Artistic Director in the early 1990s, that had changed.
“People were looking for more family shows.” She obliged, by setting up a family strand in the Festival, known as Baboró. Little John Nee, with his children’s shows, “was our anchor tenant”, she says of his annual appearances at the former Mercy Secondary School in Newtownsmyth. The first year when there wasn’t enough funding to dress the school yard in bunting, Patricia’s sister, Ailish, improvised by hanging colourful clothes on clotheslines across the yard. That year too, a fire engine was one of the main attractions and kids queued up to get their photos taken with it, she laughs.
This is a shortened preview version of this article. To read the rest of the story, see this week’s Galway City Tribune or Connacht Tribune. You can buy a digital edition HERE.
Moving west to make her artistic mark
Bernie Dignam’s grandfather fought in World War I and was one of the unfortunate soldiers who saw action in Gallipoli, a horrific experience which damaged him for life. But he never forgot his fellow soldiers and for years afterwards, would mark Remembrance Sunday by wearing a poppy and marching in their memory.
In the 1920s, that didn’t win him many fans in the newly-independent Ireland, says his artist granddaughter Bernie who lives in Moyard, outside Clifden. Bernie never knew her granddad but admires him for staying true to himself, despite the consequences. It’s easy see why she would because she’s cut from the same cloth.
Her grandfather was from north inner-city Dublin and Bernie was reared in Finglas, the oldest of a family of eight children. Her journey to North Connemara brought her to Limerick and Monaghan before she finally arrived in the 1990s, to work in Letterfrack.
Moyard, between Clifden and Letterfrack, is where she built her home and it’s where she now runs her studio and art gallery, showcasing her work across a variety of genres – felting, weaving, batik and printmaking. It’s inspired by nature, mostly by the local landscape.
Bernie’s background is in design – after graduating from DIT, she did a research project in UL on the use of Irish softwood.
But there weren’t many jobs in design and product development when she left college and she didn’t have any connections in the industry. So she did a diploma that would allow her teach art and design, which is where she developed her passion for such processes as felting and batik.
She’d grown up around textiles, she explains, as her father, Christy, was an upholsterer. His day job was with CIÉ as a steady income was needed for his large family. But in his spare time, he upholstered furniture in a shed at the back of their house. She describes him as a master craftsman and an expert on fabrics. Her mother, Teresa, meanwhile, was “very practical. She fixed our bikes, made our clothes and knitted Aran jumpers for us”.
Read Judy Murphy’s in-depth interview with Bernie Dignam in this week’s Connacht Tribune, on sale in shops now – or you can download the digital edition from www.connachttribune.ie
Bowing out after 31 years’ service
James C Harrold has played a key role in Galway’s artistic life for more than three decades. The retiring City Arts officer reflects on his years working in the county and city, and shares memories of artists, events and places, while also looking to the future.
Since 1990 I have been working with the artists, arts organisations, communities and neighbourhoods of Galway; for ten years as City and County Arts Officer, and subsequently specifically in the city. I had returned to Galway from Wexford Arts Centre where I had been Artistic Director, but before that I had spent a lot of time in the West. Every childhood summer was enjoyed in Barna, I went to college here, to UCG, and had worked with Galway Arts Festival, the Arts Centre and Macnas.
My romantic and adoring view of Galway originated in early-years visits to Kennys’ with my bibliophile father, or to Charles Lamb’s studio in Carraroe, or to my mother’s family in musical Belclare at the foot of Knockma.
‘Galway is a paradise,’ I stated firmly in a newspaper profile to mark my appointment.
I was one of the first of the new Local Authority Arts Officers, co-funded by the Arts Council with a brief to develop local arts.
Based in possibly Ireland’s oldest prefab at the back of the County Buildings in Prospect Hill, a handy base to explore from, create and curate projects, networks and funding opportunities, I was tasked to advise and assist the city and county in policy, programming and grant aid. My dear friend and college colleague Michael Diskin had returned to Galway on the same day, February 19th.
For the next 22 years, with Mike from 1994 ensconced in the Town Hall Theatre we met two or three times a week. Back in the ‘80s we had been inspired by Ollie Jennings and Páraic Breathnach, who had laid the foundations for so much of Galway’s creative reputation. We were following in their mighty footsteps and developing our own pathways too.
Early forays into the county involved bringing Little John Nee to the towns and villages every weekend that summer. His children’s shows, mainly open-air in the little market squares of east and north Galway opened conversations that are continuing still.
Read the full story in this week’s Connacht Tribune, on sale in shops now – or download the digital edition from www.connachttribune.ie