In conversation with FRANCES O'ROURKE
CAROLINE FITZGERALD
is part of a theatrical dynasty that includes actors Geraldine, Tara and Susan FitzGerald. She has directed work by playwrights Frank McGuinness, Jennifer Johnston and Ulick O'Connor and was assistant artistic director and resident director of the Peacock in the 1990s. She lives in Dalkey, Co Dublin.
'I was workshopping a play in New Theatre in Dublin in 1999. I didn't know Mary so well but asked her if she'd read. Then she was on tour in Galway and I asked if she'd do
Fred and Janeby Sebastian Barry. It was a small one-act about nuns' lives. We did it in Bewley's and then in Clonmel. After that we decided we'd make work for ourselves.
“So we formed a production company called Eska Riada to do short plays, mostly one or two-handers. I didn’t know it would be such a long road with no money. The company gives us an identity, producing good writing. And it’s exciting to find new good work. It can be difficult, but if you’ve been in theatre as long as I have, financial insecurity is the norm.
"Mary asked Michael Harding and he gave us Is There Balm in Gilead? And we found a fab piece by poet Dave Lordan, called Jo Bangles, put it on in The Mill theatre in Dundrum. It's a one-hander starring Mary, and when we put it on in the Focus theatre in December 2010, in the snow, she drove up every day from Westmeath to play to audiences of two to three people on some days. One brave person was the only one who booked for one performance and Mary still said 'I'll come up' – although we did cancel that one.
“She’s terrific, she’s such a hard worker. We both enjoy the challenge of new plays – and we have a good time together, have a larf, as they say. The only thing that might get in the way of Mary’s work is lambing season. Don’t talk to Mary when it’s lambing season; I’ll call and she’ll say, ‘they’re firing them out’.
"We needed to make work for ourselves because – and this is true everywhere – there is less work for older women in theatre. Fionnuala Flanagan is our patron, she's been very helpful, very supportive. She comes to see everything, and she's appreciative – it's nice to have someone like that as part of our company. I first met her when I directed her in Happy Daysin the first Beckett festival in the Gate.
“Mary and I have both been through tough times, it’s true. My husband has dementia and it’s been a difficult few years. I did know Mary suffered from depression before she wrote the book. She’s always tried to work through it. It’s crucial to keep working. I call it Dr Theatre, because as a director, you have to focus so hard on what you’re doing. It’s very beneficial.”
MARY McEVOY
trained in the Oscar School of Acting and played Biddy in Glenroefrom 1983 to 2000. Since then she has acted on stage and broadcasting. In April 2011, she published a book, How the Light Gets In, about coping with depression. She lives in Westmeath with her partner, musician Garvan Gallagher, and runs the family farm.
In 2007, she and Caroline FitzGerald formed Eska Riada Productions to stage works by new and established playwrights.
'I did a TEFL course after I left Glenroe, I genuinely thought I'd never work again, and I did teach in a language school for a year. Then I was asked to do John B Keane's The Chastitutewith Mick Lally, and then The Matchmakerand then Caroline came along.
"I knew of her before, but was always in awe of her, of directors, so I didn't get to know her until she asked me to workshop a play. We have a lot in common: like her, I used to go swimming in the Forty Footwhen I lived in the area. We both love food, thrillers, pottering around town . . . and we both have the same sense of humour.
“It’s not just a professional relationship, although we both like working. And I like working with her, like that we can tailor things to suit ourselves; there can be power-plays in bigger theatres.
“Usually Caroline finds something to work on, or she’ll be offered something because she’s far more dignified. I’ll be running after hapless playwrights, asking ‘Have you got a play?’ Last December, I was moved to see an audience of two or three people in coats and hats sitting on a Superser in the Focus when I played in Jo Bangles. I was gratified they’d made the effort to get there in the snow.
“I don’t espouse working for nothing but I’d rather job satisfaction. Plus, there’s no conflict – I’m a scaredy cat about stuff like that. We both work through everything. Caroline used to work in catering to keep going, she’s a great cook. And I’m not shy about asking for work. When you’re freelance, you’re your own product. I’m a panellist on TV3’s Midday, and do an agony aunt programme on Newstalk; I also talk to mental-health groups.
“There’s a huge influx of young people into the industry who think acting is easier than it really is. On the other hand, how often have I been asked ‘How do you learn all those lines?’ You can keep three or four plays in your head simultaneously and somehow the lines come out in the right order.
“Caroline and I support each other. When I wrote the book about my struggle with depression, Caroline wasn’t surprised. She would have picked up on it, and we talked a lot about various issues. After it was published, people told me that it gave them permission to talk about depression. I find it amazing people still don’t have permission.
“Caroline’s always a tower of strength, always gets up and get on with it. I tend to brood, but she’s always understanding, always there with a cup of coffee. She always has time to make sure I’m alright.”
Billy the Boat loves Angelina by Isobel Mahon, an Eska Riada production, opens tomorrow, January 16th, in the New Theatre, Essex Street, Dublin 2 and runs until January 21st.
