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‘The Secret Garden’ – a magic drama that appeals to all ages

Bernie Ni Fhlatharta

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Date Published: {J}

The Secret Garden from Galway’s Moonfish Company is proving to be among the most popular offerings at this year’s Baboró Arts Festival for Children if advance bookings are any indication. With over a week to go before the festival opens, an extra show has been added to cope with demand.

The Secret Garden is based on the classic children’s book by Frances Hodgson Burnett and it tells the story of Mary Lennox who is sent to live with a reclusive uncle in England after her parents die in India. Lonely and withdrawn in this great, empty mansion on the Moors, Mary finds solace in the strange tales told by the locals, of a Secret Garden that was locked away ten years ago and left to run wild.

Then one day, she finds a key buried deep in the earth – a key that will change her and her uncle’s life forever.

“Even though it’s regarded as a children’s book, adults get so much out of it,” explains Máiréad Ní Chróinín who, with her sister, Ionia is the co-director of Moonfish. Although it’s ostensibly the story of what happens when Mary discovers this secret garden, it’s also about getting into a depression and being unable to lift yourself out of it, she adds.

“And it’s also about the restorative power of nature and friendship, so both children and adults get it at different levels,” continues Máiréad, who observes that many adults have fond memories of the book from childhood.

Moonfish premiered The Secret Garden during Galway Theatre Festival last October when it was presented for just one show. Since then it has been reworked and toured around the country. As part of that reworking, the company members took part in several shadow-puppet workshops.

“We use shadow puppets in the show as a narrative technique because there is a story within a story, involving the adults,” explains Máiréad. “The puppets allow us to tell that, and it takes on the effect of a fairy story in Mary’s mind.”

The puppets are also visually striking because of the use of shadow and light, in their portrayal, something Moonfish really developed in the workshops.

As a theatre company, Moonfish have developed slowly but steadily since the group first came on the local scene four years ago, when they staged Bonny and Read during Project 06. That play mixed drama, music and song to chart the wild lives of Mary Read and Anne Bonny, two real-life female pirates that sailed the Caribbean Seas in the 1700s.

For more, read this week’s Connacht Tribune.

Galway in Days Gone By

The way we were – Protecting archives of our past

Judy Murphy

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A photo of Galway city centre from the county council's archives

People’s living conditions less than 100 years ago were frightening. We have come a long way. We talk about water charges today, but back then the local District Councils were erecting pumps for local communities and the lovely town of Mountbellew, according to Council minutes, had open sewers,” says Galway County Council archivist Patria McWalter.

Patria believes we “need to take pride in our history, and we should take the same pride in our historical records as we do in our built heritage”. When you see the wealth of material in her care, this belief makes sense.

She is in charge of caring for the rich collection of administrative records owned by Galway County Council and says “these records are as much part of our history as the Rock of Cashel is. They document our lives and our ancestors’ lives. And nobody can plan for the future unless you learn from the past, what worked and what didn’t”.

Archivists and librarians are often unfairly regarded as being dry, academic types, but that’s certainly not true of Patria. Her enthusiasm is infectious as she turns the pages of several minute books from Galway’s Rural District Councils, all of them at least 100 years old.

Part of her role involved cataloguing all the records of the Councils – Ballinasloe, Clifden, Galway, Gort, Loughrea, Mountbellew, Portumna and Tuam. These records mostly consisted of minutes of various meetings.

When she was cataloguing them she realised their worth to local historians and researchers, so she decided to compile a guide to their content. The result is For the Record: The Archives of Galway’s Rural District Councils, which will be a valuable asset to anybody with an interest in history.

Many representatives on these Councils were local personalities and several were arrested during the political upheaval of the era, she explains.

And, ushering in a new era in history, women were allowed to sit on these Rural District Councils – at the time they were not allowed to sit on County Councils.

All of this information is included in Patria’s introductory essay to the attractively produced A4 size guide, which gives a glimpse into how these Rural Councils operated and the way political thinking changed in Ireland during a short 26-year period. In the early 1900s, these Councils supported Home Rule, but by 1920, they were calling for full independence and refusing to recognise the British administration.

“I love the tone,” says Patria of the minutes from meetings. “The language was very emotive.”

That was certainly true of the Gort Rural District Council. At a meeting in 1907, following riots in Dublin at the premiere of JM Synge’s play, The Playboy of the Western World the councillors’ response was vehement. They recorded their decision to “protest most emphatically against the libellous comedy, The Playboy of the Western World, that was belched forth during the past week in the Abbey Theatre, Dublin, under the fostering care of Lady Gregory and Mr Yeats. We congratulate the good people of Dublin in howling down the gross buffoonery and immoral suggestions that are scattered throughout this scandalous performance.

 

For more from the archives see this week’s Tribunes here

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Archive News

Ruby ready to rock again and Bob is worth a big flutter in Gold Cup

Bernie Ni Fhlatharta

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Date Published: 06-Mar-2013

New edge to Galway hurling championship title pursuit

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A battle of talent and the ability to pull in public votes

Bernie Ni Fhlatharta

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Date Published: 11-Mar-2013

Here is a question. And there is no holiday or grand prize for getting the answer. But can anyone name the people who have won The Voice of Ireland and what has become of them?

Over across the water in the UK they have The X Factor and while I hate the concept of it, it has produced a few stars even though they don’t last long in the whole scheme of things.

But The Voice of Ireland seems to generate false excitement with the winner ending up become more anonymous than they already were. And it is costing families a fortune in the process.

While the programme is a ratings winner, strangely, it has resulted in those getting through to the final stages investing huge amounts of money in the hope that they will receive enough votes to get through to the next stages.

So, suddenly, it is not about the voice or the talent involved, it is all about votes and who the participants can convince to pledge their support for them. So it is obvious that talent goes out the window.

It means that someone with half a talent could realistically win the whole thing if they generated enough support behind them. From now on, the judges will be taken out of the equation and it will be left to the public to generate income for some phone operator.

Those who get through to the live performances have to engage in a massive publicity campaign in an effort to win votes which makes this whole effort a pure sham. It is no longer about their ability and just an effort to win appeal.

While the initial process does involve some vetting of the acts, now it becomes a general election type exercise in which the most popular will win the competition and the judges will have no say whatsoever.

It is a bit like the recent Eurosong in which the judging panel across the country voted for their favourite song, which incidentally was the best of a very bad lot, but then this was overturned by the public who chose a relatively crap song to represent us.

But again, this was all down to convincing the public about who to vote for rather than having any bearing on the quality on offer. There are times that genuine talent becomes overlooked because of the need to extract money from the voting public.

For more, read this week’s Connacht Sentinel.

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