Bailegangaire

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I would stuff the Kleenex back in the drawer at this point, except that referring to “ Translations “ allows me neatly to mention another excellent production of a contemporary Irish play, “ Baliegangaire” , by Tom Murphy. E.U.T.C.’s production represented the Scottish, if not in fact the British premiere of this play by any company. The text, richly poetic and symbolic in a way that only a contemporary Irish play manages to be, must surely rate as one of the most remarkable examples of Irish writing of the last decade.

A senile grandmother, cared for by her unmarried granddaughter,in her turn dependent on her wealthily-married sister, tells and re-tells the tale of a laughing competition through which the town known as Baliegangaire- the town without laughter- got its name. But the town is of course Ireland, the laughter that of the spirit, and the three companion less women - the grandmother and her two granddaughters- scarred and incomplete, are themselves without laughter. Only the faint promise of new life beyond the play saves the text, poetic and imagistic as it undoubtedly is, from becoming unbearably bleak and deeply pessimistic about the renewability of the human condition and spirit. Ali White’s performance as the senile Mommo could only be described as stunning in its skill and truthfulness, and her supporting cast members no less able. If the word ‘ seminal ‘ is appropriate to be used about something as potentially ephemeral as a play text, then “ Baliegangaire “ was certainly so in my eyes when I saw the E.U.T.C. production at the Bedlam. As a footnote, I pestered the then Secretary for weeks after for a copy of the script. I am delighted to report that it has since been published.

Edinburgh’s Bedlam Theatre p.20-21