Much like Christ did on the cross, Fr Frank Fahey believes, a lot of people in Ireland feel “forsaken” at a time when the impact of evictions, war and absorption in social media are being keenly felt.
The retired priest was among those who gathered on the grounds of Ballintubber Abbey in Co Mayo over three nights this week as the annual passion play put a lens on “the chronic disconnectedness in contemporary society”. It is 35 years since Fr Fahey established The Triumph of Easter – a drama involving dozens of men, women and children from the parish.
During it, the crucified Christ asks: “My God, my God, why have you forsaken me?”
A chorus of the poor reply: “My God, my God, why have you forsaken us?”
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There is a pervading resonance to the sequence as it repeats several times, culminating in Christ asking: “My people, my people, why have you forsaken me?”
“A lot of people feel forsaken in this world and the disconnection between each other has become a critical issue, partly because of the prevalence of social media,” Fr Fahey said.
“So many no longer talk to the people beside them because of their absorption in social media, which so often feeds them false realities. Meanwhile, many of our young people live without hope and some even resort to suicide.”
Referring to the housing and homelessness crisis, he added: “The helplessness, neglect and loneliness felt by those people facing evictions needs to be continually addressed by Government. It is not enough for our wonderful voluntary organisations to fix this.”
A former Mayo Man of the Year, Fr Fahey also observed that “some people expect too much from the world materially and when they don’t achieve a certain standard of living, they feel neglected”. He said the passion play celebrates “that universal quest for meaning beyond the material things”.
“It is important also to remember that the passion doesn’t end with the Crucifixion but with the resurrection of Christ, the central symbol of Easter.”
For Con Lydon, who has played the crucified Jesus on the cross from the outset, the fact that the small community of Ballintubber gave a resounding ‘Yes’ to the return of the play after a two-year hiatus due to Covid-19 restrictions was encouraging.
“Last year, we thought we’d have a major problem kicking off the play again,” he said, explaining that local support for it soon rolled in. “After doing it for so many years, people have become accustomed to it and it has become an integral part of our preparation for Easter.”
There are 70 players in the production, with many more members of the community of 800 helping to organise the logistics of the performance.
“The audience, over the three nights of the presentation, hails from all over the province and beyond. We even have had a busload from Belfast every year since its inception,” Mr Lydon said, adding that “community involvement is vital for the future of the church and, in this case, for Ballintubber Abbey”.
Founded in 1216 by King Cathal Crovdearg O’Conor, Ballintubber is known as “the abbey that refused to die” because of the continuous celebration of Mass within its walls. It survived the regal edicts of Henry VII, Cromwellian destruction and the Penal Laws.
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In 2019, the abbey received a grant of €2.7 million towards a €3 million project to develop an interpretative centre in the east wing, which is a ruin. Work is to begin on the project next January but, significantly, an original church, perhaps dating to St Patrick’s time, was discovered during the archaeological investigation of the site.
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Seamus McCaffrey, who was playing a crucifying soldier in the passion play for a second time, said everyone involved takes the play “very seriously, even if they are having a bit of craic” as well.
“My 12-year-old daughter Saoirse plays one of the angels, too, and loves it all,” he said.
Seán Hayes, a veteran soldier in the play, has been involved in it since the beginning.
“The play has probably never had more relevance and always brings us back to basics,” he said. “Everyone is complaining, but most of us never had it so good.”
