Blog & News

‘This Play is a Gift’ – Georgina Miller, Displace Rehearsed Reading Actor

Ahead of the work-in-progress rehearsed reading of Displace at Belltable on Wednesday, June 23rd, at 8pm one of the actors who will help bring the piece to life Georgina Miller wrote about the piece. 

Hi, I’m Georgina Miller, and I am one of the actors taking part in the public reading of Displace in Belltable on 20th June.  I was thrilled to be asked, as it’s a powerful piece with a story that is so relevant and touching.  Good writing is not easy to come by and, as an actor, this play is a gift.

The two story-lines, each with their own inherent drama, compliment each other really well.  Set in two different times in the same building in Limerick – a Magdalene Laundry in the 1950s, which has been converted in the present day to a Direct Provision Centre.  The struggles within masked by its walls are as heartbreaking today as they were in the laundry days.

To my shame, I knew very little about the process and conditions for asylum seekers here in Ireland.  I think Katie O’Kelly has done a wonderful job of presenting the reality of their day-to-day existence.  She’s also breathed real life into the whispered stories and headlines of existence for women in the Laundries.

I know sometimes it can turn people off when you say that a piece of theatre is important, but this one truly is.  We can’t shy away from the horror of our past, nor be ignorant to the failings of our system in the present.  That said, the play is also warm and light-hearted in places, and the authentic female relationships and companionships are brilliantly represented.

I’m a mum of two small kids and, for me,  it’ll be interesting to see how that experience informs my connection with this work.  Both women in the play are dealing with their difficult circumstances whilst having the responsibility of another small human to consider.  The role of a mother is a complex and challenging one at the best of times, and these women are forced to carry that out under extraordinary conditions.

Katie has written a remarkably accomplished and engaging piece—it had me in tears on my first reading, and I’m really looking forward to seeing and hearing the audience’s reaction to it on the night.


Georgina has been working as an actress for fifteen years across theatre, TV, film and radio. She is also an experienced and busy voice-over artist.

Displace is being developed as part of Katie O’Kelly’s artist in residency at Belltable, supported by Limerick Arts Office. This reading marks World Refugee Day. To book tickets for the work in progress reading of Displace at Belltable on Wednesday, June 20th, at 8pm phone box office on 061 953400, ext 1 or visit our website.

“I Remember 1996” – a Response to the Magdalene Laundries

“We weren’t allowed to cry or laugh”.

An account from one of the last Magdalene Laundries in Dublin that closed in 1996. I remember 1996. Mary Robinson was the first female President of Ireland. ‘Ballykissangel’ was on the telly, and the film ‘Michael Collins’ was premiered. I saw the set of the burned out Four Courts when I was a kid. Mick McCarthy was manager of the Irish football team and the Spice Girls released their girl-power smash hit Wannabe.

Katie O’Kelly and Clara Purcell from 1996 doing their Spice Girls act.

On our street in Dublin, we spent the summer making up dance routines to it in our cycling shorts and Boyzone Tshirts. It’s hard to believe that while we were arguing about who got to be Sporty Spice there were women incarcerated in Laundries all over the country, never told when they would get out and forced to work in excruciating conditions for no money. Free slave labour. I found out recently that one of the last Laundries to close was in Donnybrook, five minutes from where I grew up.

Last week we Repealed the 8th Amendment, a huge win for women’s rights that have been oppressed and silenced for too long. But we still have a long way to go in unearthing and comprehending the systematic abuse inflicted on so many women for so long in this country. Justice must be sought. The church still hasn’t paid out the vast majority of what it owes to Magdalene Survivors. They seem to essentially be sitting on their hands until it is too late and there are no survivors left.

On Tuesday evening, I was outside the Mansion House as eight bus loads of Magdalene Survivors were driven to the Mansion House for a reception with the Lord Mayor and the President of Ireland. I bawled my eyes out at the sight of all these amazing women, ranging from their 40s to 90s, who had suffered so much at the hands of the Irish State and the Catholic Church. One woman shouted to me that the women of Ireland have ended this with the referendum, the stranglehold that our country has been in since the foundation of the Republic. But we still have a long way to go to fight for justice for Magdalene Survivors. We cannot afford to be complacent ever again. And we cannot forget our collective past.

This piece was written by Belltable Artist in Residence 2018 Katie O’Kelly. Read the Irish Times article which inspired this post here.


To book tickets for the work in progress reading of Displace at Belltable on Wednesday, June 20th, at 8pm phone box office on 061 953400, ext 1 or visit our website.

Meet the Producer of Displace – Clara Purcell

Clara Purcell has worked in theatre, film and TV production since 2012. She was production assistant on the feature-length documentary Nuala – A Life (2012, Accidental Pictures) and worked in production support in RTÉ for four years. Producing credits include Dubliner’s Women (2016, The New Theatre), which toured to Belltable in November 2017, and Norah (2018, The New Theatre). She has been Front of House & Marketing Manager of The New Theatre, Temple Bar since 2015.

Clara has been working with Belltable Artist in Residence Katie O’Kelly, dramaturg Pamela McQueen and director Sarah Baxter ahead of the June 20th work in progress reading of Displace at Belltable. Find out more about Clara’s work and the progress on the rehearsed reading so far in our question and answer session below.

Q. What has your role as producer of Displace entailed to date?

One of my main jobs as producer is to make sure that we are keeping in budget for the project and keeping track of our expenses. I have also been lucky enough to get the job that EVERYBODY wants when making theatre – applying for funding!

On a project that is based on real events and experiences, some of which are ongoing, it’s crucial that all members of the creative team get a sense of the worlds of the play. For this reason I organised a research trip to Limerick city where we visited the College of Art and Design which was formerly a Magdalene Laundry and Knockalisheen Direct Provision centre just outside the city where we met some of the residents. This field trip was crucial to fully understanding the gravity of the material we are tackling in the play.

I’ve also been working with Katie and director Sarah Baxter on organising the development workshop in May and the rehearsed reading in June – selecting and booking cast members, arranging the logistics of getting everybody in the rehearsal room and organising schedules to ensure we can get the most out of the time. The fun part is getting to sit in on the workshop and seeing the piece develop more and more each day. Having finished the workshop, our focus now is on the first public reading of the work in development on June 20th in Belltable.

Q. How much progress has been made in the project so far?

Katie has been working closely with dramaturg Pamela McQueen and director Sarah Baxter on the script since the project began late last year. Since then she has been busy meeting with people in the Direct Provision centres in Limerick and researching accounts of the Magdalene Laundries too. Katie is now working on her third draft of the script, having made amazing progress in our workshop two weeks ago with a fantastic cast of actors – Roseanna Purcell, Niamh McGrath and Sahar Ali. Sarah and Movement Director Bryan Burroughs helped to create a physical interpretation of the two worlds in the play which gave another dimension to the piece and Pamela helped Katie to restructure the script and develop the characters. We’re really excited to get feedback on this current draft from the audience following the reading on June 20th. The support from Belltable so far has been brilliant in providing rehearsal space, marketing support and really helpful suggestions and advice on the project. We can’t wait to show you what we’ve been up to!

Q. What should audiences expect from the work in progress reading on June 20th?

Audiences should expect to be drawn into two worlds by a brilliant cast of Sahar Ali, Niamh McGrath and Limerick-based Georgina Miller. They will have the chance to engage with the piece directly, giving notes and feedback to the playwright on how the play could develop. They will also get the chance to hear amazing speakers, Donnah Vuma and Francis Healy share their thoughts and personal experiences with the themes of the play.

Q: What 5 words best describe this piece so far?

Powerful. Unapologetic. Crucial. Contemporary. Fast-paced.


To book tickets for the work in progress reading of Displace at Belltable on Wednesday, June 20th, at 8pm phone box office on 061 953400, ext 1 or visit our website.

In preparation for a public reading – Displace workshop

Hearing your own work read for the first time by actors is both exhilarating and terrifying in equal measure. It somehow makes it real, takes it out of your head and brings it to life. It’s a strange experience, after carrying the world of the play around in your head for so long. To hear it spoken by other voices throws up so many new ideas that it can be difficult to jot them all down. They tumble out.

Last week we got to do a development week on ‘Displace’ as part of the Belltable residency. It was an amazing experience, to get to develop a work-in-progress with such a great team of supportive people. Our actors were Sahar Ali, Roseanna Purcell and Niamh McGrath, with Sarah Baxter directing, Bryan Burroughs as movement director and Pamela McQueen as dramaturg. As Bryan put it, it was great getting the opportunity to work ‘just us girls’ :-).

We started by reading through the script a couple of times to get familiar with the story and characters. I don’t think I breathed for the first read. But everyone was so positive and supportive that it made it much easier than I thought it would be, and I relaxed. They gave some great feedback on the script, what parts really worked and suggestions for parts that weren’t quite there yet. I went home after the first day feeling energised and excited to start rewriting.

The movement days were Bryan were invaluable. Very often when I’m writing, I become overly reliant on words at first; they are a safe area. No playwright wants to have blank paper staring at them. But through the movement exercises you begin to see what can be spoken and created through the actors’ bodies on stage, and sometimes it can be far more affecting and powerful in the absence of words. Particularly in the two worlds of the play, where language is so different. In the Laundries for example, the women were forbidden from talking to each other. They only spoke in prayer. Yet friendships were formed secretively, a whispered, hushed form of friendship. In the direct provision centres, language can be a barrier between people from different countries and cultures, often when they are sharing rooms. It creates a whole new level of integration that has to be dealt with. The body can sometimes tell us what words cannot, and this can be particularly interesting on stage.

One of the days was spent with myself, Pamela and Sarah dissecting the second draft of the script, pulling it apart and then putting it together again, to see what structure works best to tell the story we want to tell. This was a really helpful experience as a writer, because so often we can get stuck in one way of thinking; it can become difficult to see different paths the story could take. But opening up to get new perspectives on it can lead to interesting discoveries about the characters and their individual journeys in the story.

After so many great chats, exercises and ideas, I’m scribbling away like mad to get a new draft ready for the rehearsed reading on June 20th in the Belltable. This will be a new step for me as a writer, I’ve never done a reading of a work in progress in front of an audience before so it’ll be brilliant to see what new ideas it sparks!

Limerick research trip for Displace – Katie O’Kelly

 

There’s nothing quite like the bright lights of Obamaplaza on the road to Limerick from Dublin. It’s shiny, warm glow and astonishingly wide range of Obama souvenirs and trinkets always heralds that the journey is nearly over. On the way home from gigs in the Belltable in the past it has frequently been the provider of supermacs and road trip snacks for hungry actors. Last Thursday was no different, as we pulled in to its majestic car park on our research trip to Limerick City.

The trip was to show the team that I am working on my new play ‘Displace’ with some of the places that inspired the story. So at 9am I picked up dramaturg Pamela McQueen, director Sarah Baxter, movement director Bryan Burroughs and producer Clara Purcell in Dublin and we set off.

As a relatively new driver, most of my attention went on making sure I didn’t go up any one-way streets the wrong way while in the city, but once we were out on the road it was great to get to chat about theatre, the Belltable residency and some of the people I have met as part of my research.

The play is about a fictional Magdalene laundry building in Limerick that has been turned in to a modern day Direct Provision centre for asylum seekers while they wait for their application to be processed. This process can take years, and asylum seekers are left in a system where they are not allowed to work, not allowed to cook their own food, and given €21.60 a week. The price of two supermac meals in Obamaplaza, or a couple of keyrings with I heart Ireland on them.

When we reached Limerick, our first port of call was the Limerick School of Art and Design, what used to be the old Good Shepherd Laundry. It was amazing to see the building that I had read so much about transformed into a completely different setting, but with so much of the old laundry aesthetic still evident.

You can tell what parts of the building were the nuns’ quarters and what were the parts for the women incarcerated

there by the difference in design – some corridors have parquet wood on the floors and walls, while other areas are covered in old 1950s lino.

 

The team couldn’t believe how much of it was still there. The windows high up in the walls in some of the old laundry rooms meant that if you were one of the women working there you weren’t even allowed to look out. Given no indication of how long you would be there, cut off from the world, much like the people left in the modern day direct provision system.

We went in to the exhibition gallery, which used to be the old chapel in the grounds of the laundry. Here, the women would be brought in for Mass and seated on one side of the building while the children from the orphanage would sit in another part. There are accounts of the women craning to catch a glimpse of their child that had been taken from them and put in the orphanage, while the mothers worked only a short distance away in the steaming heat of the laundry. It was very affecting to be in the silence of that room, with its ornate marble and gold mosaic on the walls, and think of the suffering that those women were put through. It’s haunting.

Next we visited Marketa in Belltable before a very delicious lunch in Hook and Ladder – Bryan said he became a regular there when he was in Angela’s Ashes the Musical, and we can see why! Lovely food and a very nice atmosphere, we’ll definitely be heading back there for sure :-).

After lunch we visited a friend of mine in one of the direct provision centres in Limerick. I won’t say which one as I want to be sure nothing happens because of it – this is all part of the system, of keeping people separated and afraid of what can happen if you cause ‘trouble’. It’s shocking to visit these centres though, many of them are old religious buildings that have repurposed to house asylum seekers, out in the middle of nowhere and with extremely limited transport in to the city. If you get the bus in to town, it leaves at 9:30am and you won’t be able to go back until the return bus at 5:30pm. That’s a fecking long wait.

Some of the centres have an air of Stepford about them, with everything looking nice but something not quite right at the same time. The ones with children have playrooms for example, but the toys aren’t used and frequently the door in to the room is locked. There are no children to be seen, a strange feeling in a centre that supposedly houses 70 little ones.

In another centre that I went to, I was the first person to sign the visitors book in 2018. Two people had signed in last year, and five in 2016. How are people supposed to integrate in to the community, one of the things they look for when assessing applications, if you are purposely cut off from that community – placed in a big vacant building miles away from the nearest town?

We saw the canteen in this DP centre, the noticeboards of signs saying the rules, and the laundry where half the machines don’t work; the depressed atmosphere of waiting is palpable. The car ride home was very different from the journey down. Everyone was very moved and affected by what we had seen. There was far less chat, it seemed trivial after it somehow. We are determined to try to bring some of what we saw to the stage, to share it with a wider community.

I’ve finished my second draft of the script of ‘Displace’, and am all fired up to start work on the next draft for the reading in the Belltable on 20th June, which marks World Refugee Day.  I’ve never done a reading of a work in progress before, so it will be interesting to see what new ideas are sparked by it, as well as being just a wee bit terrifying! But it’s good to push your comfort zone sometimes, and the warm glow of Obamaplaza will always be there for the supermacs afterwards :-).

Katie O’Kelly, Belltable Artist in Residence 2018

 

International Theatre Exchange – Mags O’Donoghue checks in from Finland

After a long day, leaving Limerick before 4am and with a flight delay to get to know Helsinki Airport very well, I arrived in Oulu Friday night and was greeted by Brent Cassidy, director of the Irish Festival of Oulu. Brent hosted me in his home for two nights. I was able to spend the weekend exploring the area near his house by bike, heading through forest to the beach. On Saturday evening we headed to an Irish session which was amazing and bizarre. It’s odd to be so far north, to be the only Irish person, and to feel almost less Irish than everyone here. It’s definitely making me wish I could play more than ‘Twinkle twinkle’ on the tin whistle. Brent is fluent in Irish so it’s lovely to be able to speak a bit again, though I’ll admit I’m struggling with his Ulster Irish tongue. Flashbacks to that part of the Leaving Cert tape test!

On Sunday I met Anna Kaisa, who will come to Limerick as part of this exchange in November. I’m staying with her now until the festival starts next week. We went to an event at her workplace where we ate and watched some Finnish Improv Comedy. Luckily I got a running English commentary from her as so far in Finnish I can only say hello, goodbye, milk, gluten free and bag (and the odd expletive!).

Monday was the first day at the Irish Festival office in Culture Centre Valve. Brent took me on a tour and introduced me to some of the staff members there. It’s an amazing facility with a café, theatre, studios, and offices for various cultural organisations.

It’s been very grey since I arrived so I was really glad to see light today when the sun came out and I took a gorgeous walk around in the evening. The Autumn colours here are spectacular.

 

 

 

 

 

 

 

 

 

 

 

 

Tuesday was European Day of Languages and the Irish Festival was invited to perform and have a stand at an event at the nearby shopping centre. Anna Kaisa and I handed out festival programmes and spoke to people about the festival. With my handful of Finnish words and their mostly excellent English I didn’t do too badly. The festival definitely has a good reputation in the area. Almost everyone we spoke with already knew about it. But there are similar struggles here as at home with getting people to attend and especially to book tickets in advance.

The rest of this week was spent preparing the artist packs and itineraries for next week. I’ve been slowly getting to know all the members of the team and am being well looked after by everyone. Anna Kaisa and Asta, the festival producer, took me to sample my first reindeer stew on Thursday so just so everyone knows – I ate it…it’s delicious…sorry Santa!

On Thursday evening the 30 plus volunteers came to a meeting at Valve to go through the schedule and roles. It was a good chance for everyone to meet over pizza and get to know each other and the festival a bit more.

We ended the week by beginning to decorate Valve with an explosion of festival balloons and posters. Slowly taking over the place! I also had a really interesting meeting with the director of Valve, Arja Huotari, who shared loads of information about this great cultural centre they have here. It really is an amazing space for supporting artists with both office, rehearsal and performance space. There are some wonderful photography exhibitions hanging at the moment and the place is always buzzing with visitors to the café and the comic store and with people attending various dance and other classes. It was great to be able to chat to her about Limerick too and the projects we have going on and about the Belltable:Connect programme I’m on. All these international connections are so important to have and this is a really great opportunity to learn how things operate in other countries.

The countdown is on for the festival now. I’ll be taking over the @irishfestoulu Twitter account next week so do follow along there with all the madness of the most northern Irish festival in the world! Hei hei!

Director Sinead Hackett reflects on Fishamble Mentoring Programme

BelltableConnect Fishamble Mentoring Programme, photo by Ken Coleman

Limerick your a lady…….

And so are you Marketa. The boys from Fishamble ain’t so bad either 😉.

All jokes aside, I  just really want to say thank you  for  the  place on the Belltable:Connect mentorship programme.  It was a  valuable experience.

Driving down to Limerick city once a month over the past 10 months to meet and connect with other emerging directors in the Beltable theatre was exciting.  The directors group was hosted by Jim from Fishamble  theatre company, whose manner is so chilled he put us all at ease.

It was full of first times for me and first times can be nerve wrecking. This is my first time to ever blog!!!!!.

But it was also my first time  to ever pitch. My first time to sit in on a mentorship programme, my first time in THE Beltable theatre,  my first time having any connection with Limerick City and my first time meeting all the other young, hip, cool emerging directors and Jim.

Little by little we got to know each other,  our styles, our preference and our projects, through the monthly  meet ups and chats.

It was great. Hopefully we will meet again. Until then onwards and upwards.

Sinead.x

Playwright Niall Carmody on presenting his work to peers

Belltable:Connect Fishamble Mentoring Programme, photo by Ken Coleman

Having spent countless hours among the other mentees, taking and providing criticism (always constructive) on varying projects, we were given the opportunity to present some of our work to professionals in the theatre sector. When preparing a piece of work to present to a room full of strangers I tend to over think the prospect, allowing it to become a monster determined on devouring me. In the session running up to the presentation Gavin posed a question to our group; ‘what do you want from the presentation?’ Sitting amongst the other mentees I thought ‘I just want it over’. I had no definite answer to his question. Visions filled my head on how my work would be received. Images switching sporadically between wads of cash or rotten fruit being thrown from our gathered audience. Both scenarios were equally as terrifying, a face full of fruit would be embarrassing but an influx of capital would bring paralyzing pressure to succeed. The weeks inevitably passed and the day of reckoning flew closer and closer. I decided on presenting Play on Words, a piece that will be shown in the Edinburgh Fringe Festival by Tiger’s Eye Theatre Company. A safe bet, it is a play that is happening anyway it had a run out at the Scene and Heard Festival, it may not be loved but it certainly won’t be hated (hopefully). Box ticked. Job done. Yet Gavin’s question still bothered me, what did I want from the presentation?

On the 20th May, we gathered in the Belltable Hub and soaked up the nervous energy. Each person assuring the next that ‘it’ll be grand’ and ‘it’s no big deal’. We practised the running order with plenty of nervous laughter and awkward timing. There is nothing like a group of strangers to be honest about your art. These were professionals after all, not Mammy and Daddy patronising placing your work on the family fridge. At 2pm we were prepared for battle. Our invited audience filed into their chairs, nobody carried boxes of rotten fruit thankfully. The presentations came and went without any stumbles or issues. As each person finished their presentation the room became lighter and lighter; the cloud of potential screw ups lifted from the room. The relief was palpable, ironic that a group of theatre makers were so jittery about a four-minute presentation. Having completed my own presentation, I relaxed and enjoyed the pitches from my peers. My mind drifted to Gavin’s question, ‘What do you want?’ and it hit me. Sitting amongst representatives of the theatre community, each at different points in their careers, I wanted reassurance that what we are doing is worth it. That you can create art and lead a happy life. That the ‘struggling artist’ title does not have to be a lifetime sentence. And it is possible, it’s not a lifetime sentence. It is by no means a simple task, but it is possible. It is easy to become fatigued and disheartened working in theatre as you constantly struggle for employment and funding. I have gone through stages of bitter self-doubt when attempting to justify my career choice to friends and family.

The presentations carried out on the 20th May gave an insight into differing theatre projects, but more importantly for me it revitalised my passion for the art. If a room full of intelligent and talented individuals see the worth in pursuing their passion, then I owe it to myself to do the same. We push ourselves to the point of self-destruction to pursue our passion, and we always survive. That’s the fun in theatre, that’s the fun in living.

Director Róisín Stack checks in from KunstenFestivalDesArtes, Belgium

BelltableConnect Fishamble Mentoring Programme, photo by Ken Coleman

This is my second attempt at a blog post. The first was written a few days after a run of a show I’d directed. I was writing about the post-show bubble and how difficult it is to review your own work without letting other people’s opinions, good and bad, influence your relationship with it, yet how necessary it is to reflect on the whole experience in order to move on to the next thing.

I didn’t submit that blog because the more I read it, the more critical I became of it (which was fitting giving the subject matter) so I decided I’d wait and write again while away on an upcoming trip which might give me a new perspective.

Now I am on that trip, in Belgium, attending shows in Brussels as part of KunstenFestivalDesArtes, and in Ghent to explore the work of Ontroerend Goed. The work I have seen so far is a mixture of performance art and political interactive theatre. Some of it I have found quite inaccessible – it seemed more about the artists’ intellectual ideas as opposed to the execution of a piece that left room for an audience.

The shoe is on the other foot now, as I experience, interpret and judge the work of others, just a couple of weeks after churning over how to take praise and criticism of my own. I’m looking at these performances as an audience member, a [sensitive] critic and a theatre maker. I find hope in the things I don’t like, because I feel I can do better, and I find inspiration in the things I do like because it makes me want to be a better artist.

The work I have seen here traverses a line between stage and spectator, performance art and theatre, science and philosophy, film and lecture. These are not theatre pieces as such but happenings, protests, experiences, live art. I realise that although I talk about the desire to make theatre which is unpredictable and disruptive, I still want my work to involve skill, heart, aesthetic and a sense of artistry. Much of what I have seen here does not have that – the idea is the piece, rather than central to it; the execution seems disregarded and this is where I encounter a tension within myself.

I feel quite lucky that I can come away here and have these experiences and reflections. It’s great to be able to go and see work outside of Ireland as it informs my perspective and reminds me that it’s all relative. Last year I attended a workshop in London where participants complained about how theatre in the UK is too traditional, yet often in Ireland we regard theatre in the UK as being progressive (and obviously there are many organisations there which are). On the other side of that, this year I’m experiencing work which is so untraditional, it makes me wonder where the line is between accessibility and experimentalism. So much of this depends on audiences, on the appetite for the arts in any given place. Who am I making the work for? What am I responding to?

I’m not altogether sure where this leaves me in relation to my own theatre making and the post post-show bubble. The piece I recently directed was not experimental but it afforded me the opportunity to try out some simple yet potentially risky ideas, to work with somebody else’s script and a smaller cast. All of these elements of the traditional theatre process gave me secure conditions in which to create work and as such I learned an awful lot about directing. For my next piece, I plan to write it myself but leave room for collaboration and devising, working with a small cast and drawing on elements of Dadaism and post-dramatic theatre. A few weeks ago, I might have thought I was proposing something cutting edge but by European standards, this is nothing new – this is old hat. And that’s OK. I’m not making this piece for KunstenFestivalDesArtes and while I’m glad to have another context in which to place what I want to do, I’m not going to change my perspective to try to be relevant.

It’s great to be reminded that I’m not creating in isolation, in my own community, or my own country, but surrounded by continents of artists and a whole world of audiences. It’s quite freeing to think beyond my own perceptions of what theatre is and the possibility of where it could take me.

On the plane home I came across an extract from the writings of WH Auden and was reminded that reflection, self-criticism and authenticity are age-old struggles (I also thought it would make me sound very learned to conclude my blog with a quote from a poet):

”[Every writer] needs approval of his work by others in order to be reassured that the vision of life he believes he has had is a true vision and not a self-delusion but he can only be reassured by those whose judgement he respects . . . No writer can ever judge exactly how good or bad a work of his may be, but he can always know, not immediately perhaps, but certainly in a short while, whether something he has written is authentic – in his handwriting – or a forgery”

Brendan Griffin – Writers’ Mentoring Programme

Belltable:Connect Fishamble Mentoring Programme, photo by Ken Coleman

“Not so easy being a fly on the wall”

Fly 1                            They don’t mind getting up on a Saturday morning, I’ll say that for them.

Fly 2                            They are only here one Saturday in a month? They could well be sleeping the hell out of all the other Saturdays.

Fly 1                            True. True enough.

Fly 2                            We’ve ruled out Zumba, yoga, choir. Not a step, stretch or a note between them.

Fly 1                            Not a one. And we’ve also knocked in the head a water protest group.

Fly 2                            I think so. They have the enthusiasm alright, plenty fire in the belly, but they are way way too happy to be as a water protest group.

Fly 1                            I was sure they were a prayer group at the beginning. The way they all sat in a circle. And they have a shared reverence to something.

Fly2                             If only they occasionally closed their eyes or looked upward I would have given you the prayer group.

Fly 1                            And you are sure, not a political party? There is a leader, they share literature, there’s loads of discussion?

Fly2                             Has anyone walked out in a huff, banged a door? Has anyone been stabbed in the back?

Fly1                             Not that I noticed.

Fly 2                            We can definitely rule out a political party.

Fly 1                            And you have also given up on the community group idea?

Fly2                             For a time I was fooled by the obvious common purpose of the group. But has anyone said, “through the chair”, “point of order”?

Fly1                             Nope.

Fly2                             And a community group would certainly have talked at this stage about holding a raffle or a cake sale.

Fly1                             True.

Fly2                             They are a tough group to crack for sure.

Fly1                             Not to mind mentioning the parallel world…

Fly2                             Stop. Stop right there. Haven’t we enough mystery on our plate besides bringing up the group next door?

Fly1                             We have.  We have for sure.

Fly2                             I need a break.  Want to head down to that sugar bowl?