Fiona Shaw, a potential candidate for the title of Ireland’s finest living actor, met in a makeshift lounge. The creators behind “If”- a delightful family movie by John Krasinski, arranged the meeting in a luxurious central London hotel. The environment was beautifully decorated, matching the film’s aesthetic, complete with imitation period sofas and plush toys. Shaw held the room with a vibe of usualness, as though one were in any everyday sitting room.
I recollect seeing her in this city for the last time when she epitomized Electra of Sophocles’s in a Royal Shakespeare Company production at the Barbican Centre. This was almost 34 years ago. “Where have you been all my life?” she questioned in jest. Though I have witnessed her perform afterward, it was never in London.
Raised in Cork, Shaw’s notable year was 1990, during which she was honoured with the Olivier Award for best actress for her stellar performances in Electra, As You Like It, and Bertolt Brecht’s The Good Person of Szechwan. Following her graduation from the Royal Academy of Dramatic Art in 1982, Shaw was continuously active on stage. She provided a vigorous portrayal of Christy Brown’s caretaker in the 1989 movie My Left Foot. Her career seemed to truly flourish in the decade of the 1990s. Blessed with a unique personality and a warm, versatile voice, Shaw rapidly emerged as an influential actor. Noteworthy performances under the directorship of Deborah Warner include leading roles in Hedda Gabler and Richard II. This creative collaboration continued well into 2013, with Shaw portraying Jesus’s mother in Warner’s staging of Colm Tóibín’s The Testament of Mary.
Shaw has expressed that her rapport with Hollywood, where opportunities arose post-My Left Foot, was complicated. Arriving in Hollywood at 28, she felt labelled as “very old”. She believed her role in the sequel to Three Men and a Baby had effectively ended her film career. Nevertheless, this wasn’t the eventual outcome.
She never aspired for a Hollywood career, she clarifies now. Her decision to partake in Mountains of the Moon with Bob Rafelson was more of an escapade. While acting in three plays including Taming of the Shrew at the Royal Shakespeare Company, she was content. Her ambition, she explains, was always driven by the moment.
Nevertheless, she recognises that the world is now filled with younger actors who have intricate career paths planned out- setting their sights on specific directors, studios or franchises.
“The only strategy one can have,” she comments, “is to avoid tempting but unsuitable opportunities”. The power, according to her, lies in refusing what you dislike. If it appeals to you, take it on. She considers herself fortunate to have worked with interesting and pleasant individuals.
She then provides sage advice to those seeking a career in the industry, and states she ensures to pass on her wisdom.
“I was always more of a slow developing artist”, she recalls, explaining how post-university, she attended drama school followed by a stint at the National Theatre at 23 creating a slow, yet thorough buildup to her career. By her late twenties, she had geared herself up and expanded her skills in terms of liking and disliking certain parts of her job. For novice actors in their twenties these days – they are struggling to find their footing. Back in her time, the path was clearer, but she fears that ladder to success does not exist for them anymore.
Lost in the charm of her friendly chitchat, she vividly recalls her career path coloured by the unusual nature of the business. In spite of her doubt of succeeding in the film industry, she did achieve an agreement with the cinematic environment. She made appearances in major movies like the first Super Mario Bros, Brian De Palma’s The Black Dahlia, and Terrence Malick’s The Tree of Life. Much like many theatre elites, she joined the Harry Potter ensemble, and is often recognised around the globe as the wizard’s Aunt Petunia, rather than her actual persona.
In “If”, a sophisticated Paramount film, she embodies the role of a grandmother to a young child, who anxiously awaits her father’s emergence from the hospital. A group of mythical creatures providing companionship or hoping to offer companionship to lonely children, sweep the child away – this is who the imaginary friends (IFs – see what they did there?), are. Shaw is essentially the heart of the film, the comforting figure who even gets to showcase some dance. Is this analogous to performing Shakespeare or Brecht on stage? Surely the effort exerted must be utterly unique.
“Yes, it’s a divergent role,” she agrees. “I’ve often interspersed movies with theatre. The dedication towards theatre is however more enduring. You’re confined to one location for an extensive period, chiefly if you’re the protagonist – as you are accountable for a multitude. Yet, after my performance in Colm Tóibín’s “Testament of Mary”, I withdrew from theatre, and during this hiatus, I transitioned into a different realm, and I have gradually found my niche there. It’s becoming increasingly gratifying.”
Returning back to the start, I recover an old quote from a bygone interview where it was mentioned that she recited poetry during her childhood.
“Reciting poetry?” she laughs. “Well, different things surface during interviews.”
Exercise vigilance regarding your words?
“Definitely, exercise complete vigilance regarding what you utter.”
Shaw was born to a bourgeois family in Cobh and brought up in Montenotte. She graced University College Cork before making her way to Rada, in London. When I bring up another quote about her mother being supportive, she nearly chokes.
“We were just an ordinary family,” she elucidated. “One sibling played the violin, another different things. It’s not like we were constantly engaged in this. These are common queries. During my leisure, I attended the School of Music, indulged in poems and theatre-related activities – as there were scanty drama opportunities in Cork back then. It appealed to me, and it felt appropriate. It’s safe to regard it as a hazy understanding. Most families indulged in music, just like mine. My mother still plays the piano and sings.”
Fiona Shaw, the noted star of stage and screen, attended Rada, the prestigious drama school, alongside such acclaimed actors as Kenneth Branagh, Mark Rylance, and Lorcan Cranitch. In reflection, she dismisses the concept that their shared experiences were charged with competition. Instead, she found their time there marked by a quest for individual self-improvement, noting the diversity amongst them.
Shaw, from Ireland, perceives a shift in the motivation for Irish actors to leave home for opportunities in places like London or Los Angeles. Previously, there was a strong push factor due to lack of opportunity. However, she observes that the environment in Ireland has significantly changed. The dramatic arts, in particular, have seen a surge of development. This is vastly different from when she started, at a time when the local scene was largely inert.
Shaw reflects on the late 1980s, when she worked on the film “My Left Foot” in Ireland – a period she describes as a lull in the film industry. Shaw moved on to work in the US, driven by a desire for broader experiences. She felt restricted by the repeated narratives of Irish productions. The discovery of Shakespeare unleashed a new, expansive world for her.
Interestingly, Shaw notes that “My Left Foot,” a movie she starred in, might have marked the beginning of a cultural revolution. Following that film, Irish actors started making waves in the international scene. However, she admits the team behind the film was taken aback by how well it resonated with audiences outside of Ireland and select British indie circles.
Brenda Fricker’s feat of bagging the first award at the 1990 Oscar ceremony was a momentous incident for Ireland, signifying the first accolade for an Irish actor since Barry Fitzgerald in 1944. It was a milestone that was unheard of for the nation, much like when Dana emerged victorious at the Eurovision, leading the entire country to a collective pause.
As a native of Cork, I couldn’t resist inquiring if she felt a particular sense of pride when Cillian Murphy, a fellow Corkonian, secured the best-actor Oscar in March. The people of Cork are indeed well-known for their enthusiastic celebration of their own.
As she narrates, “I received a charming picture of the Fr Matthew statue adorned with an Oscar. Perhaps soon we would see Cillian’s statue there. Wouldn’t we?”
Shaw believes in the idea that the nation has undergone a significant transformation. Despite the twists and turns of her illustrious career, she has managed to hold on to her robust energy, making it effortless to envision her playing the roles of Electra or Hedda Gabler with the same fervour she exhibited in the 20th century. Married to the esteemed Sri Lankan economist Sonali Deraniyagala since 2018, she still possesses an unquenchable thirst for her craft.
She underscores her upcoming performance with Emma Mackey and Vicky Krieps in Deborah Levy’s novel, Hot Milk, adapted by Rebecca Lenkiewicz. She is full of praises for the film, and in June, she will take part in a series of short films that celebrate Molly Bloom’s monologue from Ulysses as part of the Yes Festival in Derry and Donegal.
Describing her producer Seán Doran as exceptional, she says she never turns down his requests. She recently filmed a portion of Molly sentences, which are typically lengthy and hers lasted a challenging 22 minutes without punctuation, all in a single day.
She continues to pioneer, exploring the limits of what is possible. “What I have been suggesting in this conversation is the importance of stepping off the beaten path and trying to discover more intriguing things,” she emphasises.