Kate Gilmore: Broke and Carless

Venturing into the cozy pub sector of Peacock Theatre, based in downtown Dublin, one is greeted with an eclectic selection of chairs and homely coffee tables. It generates an atmosphere that reflects the unpretentious living room of a late 20th-century flat, which in my opinion, is quite endearing.

Kate Gilmore, the leading lady of the newly premiered play, Safe House, comfortably fits in and engages in a lively chatter resembling a force 10 storm. Her past performance portfolio has been robust already, however, this unique one-person drama, might just be her most demanding venture yet.

She asserted, “Distinct performances come with their unique difficulties, but this one seems like it epitomises all the requests and demands of the past.” She narrated how her father recently questioned whether she would have been prepared for this challenge half a decade back. Her reply was a resounding ‘no’.

Going through the footnotes, it becomes clear why she holds this belief. Safe House is born out of a dynamic partnership between the indefatigable Irish playwright, Enda Walsh, and the adaptable composer Anna Mullarkey. Packed with “song, music, recorded voice and film” as stated in the promotional material, it is a multifaceted piece. The cinematic “preview trailer” sets a somber mood through its captivating electronic rhythms, while transitioning from a panoramic space view to a bird’s eye perspective of a nondescript intersection.

Gilmore says, “Defining it is tough, as I’ve never experienced anything quite similar before,” She added, “It’s a pioneering format. It’s a depiction of a lifetime, encapsulating various stages of life of the protagonist from her distant past to her immediate past and present. It’s an amalgamation of all moments that have resulted in her current identity.”

Even though Gilmore is dealing with increased pressure, it’s not just because of the demanding nature of the handball alley scene set in 1996. The anticipation surrounding any new content from Walsh always creates a stir. Ever since Walsh’s seminal work, Disco Pigs, premiered nearly three decades ago which catapulted Cillian Murphy to fame, the Dublin-born artist has been consistently defying the norm across all forms of media. Soon, his film adaptation of Small Things Like These by Claire Keegan, featuring his long-time friend Cillian and directed by Tim Mielants, will premiere in Irish cinemas. As our conversation progresses, his lively pet pooch Alvin pops into the makeshift lounge.

“Walsh exclaims that she is phenomenal!” referring to Gilmore.

Indeed, she’s made significant strides in her career over the past ten years. Gilmore grew up in Artane, north of Dublin, where she continues to reside. She honed her acting skills at the Gaiety School of Acting and the Bow Street Academy before taking on roles in The Gate’s productions of The Great Gatsby and Assassins by Stephen Sondheim. Her regular feature on Fair City proves her consistent acting efforts, where she met a violent end in the storyline. Her resume reflects a seamless career graph with praises from her collaborators. To say that her chance to lead on stage has been long-awaited seems like an understatement.

The Peacock is located within the Abbey Theatre complex, offering a more edgy and experimental environment for the art. When asked about her memories of the National Theatre, she recalls a standout one.

“I distinctly remember bringing my grandad to see the Risen People,” she recalls, citing a 2013 production of a play by James Plunkett at the theatre. “My grandad, a native Dubliner, born in 1922, experienced the theatre for the first time in his 70s when I took him. That memory, because it felt like coming home, being a Dubliner but never having visited the National Theatre before, is something that resonates strongly with me. I was glad that I could introduce him to it the way my college did for me.”

What’s intriguing is that she confesses to not having spent a lot of time in the theatre as a child, even though she had set her heart on becoming an actor from a young age. She says, “Theatre was not a part of my family culture, hence my first visit to the theatre happened quite late in life.”

But where did this passion originate from?

In all honesty, she confesses that her fascination with film from a young age is inexplicable – it must have been predestined. Being an only child, she had to entertain herself with her own imagination, developing a deep affection for the realm of cinema, particularly an unusual selection of films for her age. She recalls being captivated by the film ‘The Piano’ when she was just 13. Her parents always recognised an idiosyncratic aspect within her, a certain uniqueness just waiting to be unravelled.

Gilmore’s path became clear during her attendance at a theatrical-based institution, where she realised that dancing was not her forte. However, she had a fondness for playing out scenes and participating in youth theatre. In no time, it seemed as if her path was fixed. Graduating from school led to a wholehearted pursuit of her theatrical dreams, with no room for fallback plans or a plan B, leading to some interesting risks later in her career due to a lack of a safety net.

Gilmore showcased a wide range of her acting abilities throughout her career. In 2018, she stood out remarkably as Lynette ‘Squeaky’ Fromme in Gate’s rendition of Sondheim’s ‘Assassins’. She played the character of the ex-Manson family member who later attempted to assassinate Gerald Ford. Her hauntingly beautiful performance of ‘Unworthy of Your Love’ duet has been etched in my memory. The role required a strange mix of innocence and subtle humor.

A large part of Gilmore’s work, which she continues, introduces her to new challenges, beauty and opportunities. Engaging with a piece like Sondheim’s, which she compares to the equivalent of Shakespearian musical theatre, she found enlightening. She believes in utilising every punctuation and note, leaving nothing unused, and discovering her unique method within that.

Despite the cons of not having a plan B mentioned earlier, she managed to secure something of a stable role as Karen O’Neill in ‘Fair City’. Several actors, particularly those from Australia, have expressed appreciation for the learnings they have acquired from soap operas. Complementing this viewpoint, Julianne Moore attributes her time on ‘As the World Turns’ gratefully for teaching her how to adapt to roles quickly, underlining her character promptly, and mastering the first take.

While he doesn’t display a protective demeanor, his unique leadership style is noteworthy, the likes of which I have seldom experienced,” shared actress Kate Gilmore. She expressed the stable nature of acting as a profession, dubbing it as an “invaluable learning experience” as it offers fresh challenges week by week.

Scripts are handed out every Monday, setting the rhythm for the rest of the week’s work. Not knowing what the future holds adds an element of excitement as an actor. On a lighter note, Gilmore added that knowing one’s schedule means you can rest assured your character won’t meet their end in the plot on a Wednesday!

Gilmore stresses that for the actor, flexibility is crucial. All preconceived notions about a character must be set aside; one must think as a human, given humans surprise themselves daily.

While many of Gilmore’s peers have relocated to London, she remains in Artane, bravely commuting to the city daily on her scooter. Even in the era of online communication, the draw of the English capital persists for many Irish performers.

However, Gilmore isn’t completely against a move. She shares: “I would consider relocating to London, but ideally, I’d like to have a project, perhaps a stage show, to carry with me.” Her plans to perform at the Donmar Warehouse theatre were interrupted by the pandemic, but she believes the experience could be worthwhile.

Gilmore, a well-spoken and engaged woman with a warm smile, has made her presence known in the industry. Starring in the play ‘Safe House’ at The Peacock theatre promises to open more doors for her career. The significance of being the play’s centerpiece, as well as the global acclaim of its author, Enda Walsh, adds weight to the project. Known for ‘The Walworth Farce’, ‘Once’, and the screenplay for ‘Hunger’, Walsh now adds ‘Safe House’ to his directing portfolio.

“She claims that his lack of becoming overly protective is truly considerable. His team management method is highly distinct and I can’t recall ever being part of such a process. It’s extremely collective. Every individual’s input in the room is recognised as meaningful.”

I can presume she doesn’t look back with regret on her choice not to formulate a contingency plan upon graduating university.

“I observe my mates who chose a different path, leading routine lives with regular employment, electric vehicles parked in their driveways and dealing with house loans,” she articulates. “When I look at my own life—no house loan obligation, a dilapidated vehicle, and a bank balance of zero. However, I wonder if they will ever experience the sense of fulfilment I feel each day as I focus on my work.”

“Safe House” will be showcased at The Peacock in Dublin until the 16th of November.

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