Aaron Monaghan warmly reminisces about his first favourable impression of Rory Nolan in 2007, even though they’d known each other for some years prior. His laughter punctuates Nolan’s attempts at self-deprecation in response to Monaghan’s praises. Monaghan admires Nolan’s acting talent greatly, attributing to him a seeming ease and effortlessness as well as a remarkable ability to master any task.
Meanwhile, these two accomplished actors are sitting in a petite glass-walled office nestled within Dublin’s Digital Hub. They’re engaged in a conversation about their professional bond and personal friendship, triggered by their upcoming roles in the renowned play ‘Endgame’ by Samuel Beckett. This production is part of the lineup for the Galway International Arts Festival, presented by Druid where Nolan portrays Hamm, a blind wheelchair-ridden individual, while Monaghan personifies Clov, his disgruntled servant.
Once you enter the setup, you’re greeted by an aisle leading to a pair of notably large dustbins, offering a hint into their rehearsal content. These containers are designed for the characters Nagg, played by Bosco Hogan, and Nell, performed by Marie Mullen, under the guidance of director Garry Hynes. The on-set environment is a replica of Francis O’Connor’s staging.
Away from the corrosive authority figure and indifferent servant they later transform into, Nolan and Monaghan are two of their generation’s most impressive actors. They share a history of multiple performances together as part of the Druid collection of thespians, with their latest collaboration being the 2019 production of DruidO’Casey.
Apart from their independent ventures in the field of acting, Monaghan also oversees the artistic direction at Livin’ Dred Theatre Company in Cavan while Nolan embarked on his writing journey last year with the tragicomic masterpiece, You Belong to Me.
The bond between them is palpable, berthed from an easy familiarity and mutual respect, highlighted by the body language that naturally gravitates towards each other, signifying shared comprehension.
Nolan, characteristically sharp-witted, and Monaghan, seemingly serious, share a camaraderie not glaringly visible at first glance. On stage or off it, their energies intermingle, leading to exchanges Nolan jocularly refers to as ‘ridiculous’. They appreciate each other’s talents, with Nolan recognising Monaghan as a supreme talent.
When they clicked, they realised their connection ran deep. “We’d bounce off one another, enjoying every moment,” commented Nolan. This bond translates seamlessly on stage, evolving into something more profound, almost symbiotic.
Their association involves being attuned to the other’s emotions. When one feels a certain way, the other grasps it instantly. It’s a rare partnership where they can confront challenges together and provide constant support and constructive feedback amongst one another. If they find themselves in a bind during a scene, they can count on the other to provide a fresh perspective.
Witnessing them rehearse alongside Hynes underlines just how effortlessly their bond translates into their craft. It displays a unity of effort, a warmth that permeates their work.
Monaghan credits the strong connection to their association with the Druid ensemble. He muses on his work with a group of performers who have collaborated on various projects, beginning with the late Tom Murphy’s suite of plays, DruidMurphy.
Monaghan speaks of their profound admiration for Tom Murphy in glowing terms. Nolan echoes these sentiments, reiterating their enduring respect for him. Monaghan reflects on the immense pressure, coupled with the great privilege, of having to do justice to his work. As a result, usual courtesies were often bypassed in their dedication to work tirelessly out of their love for him. This dedication birthed a deep mutual respect, not just for one another, but for the work they each produced. This respect extended to an acknowledgment of their individual differences, Nolan added.
Monaghan recalls Garry’s reaction to the project, stating that it was something unique that they should continue with. Nolan credits Murphy’s work and the project as formulating the core group, applauding its brilliance, flexibility, and rewards despite its challenges. He hails Murphy as a genius, describing the intense yet fulfilling nature of the work which he believes flagged a deepened comprehension not only of the work, but also of their personal development as actors.
Nolan recalls the beginning of their careers when there were numerous professional Irish theatre companies providing numerous opportunities. During those times, younger actors were given significant parts, which Nolan recognised as critical for honing their skills. However, he also notes that the economic crash did alter the theatre landscape, making companies more cautious, often prioritising proven talent over fresh faces.
Reflecting on their journey as actors, both Monaghan and Nolan agree on the impact having children has had on their careers. Nolan shares that the birth of his first child led to him viewing his theatre work as secondary, paradoxically strengthening his work. Similarly, post his daughter’s birth, Monaghan found himself with a renewed sense of purpose and focus during the day. Coming home to a busy personal life, he found his work concentration ironically heightened when on the job.
Returning to the ensemble feels like a comforting homecoming, invoking a soothing sense of familiarity and the experience of Druid’s model-box presentations, which offer a platform for idea exchange. The model box for Endgame was presented in February, catalysing a session where everyone from the team congregates to discuss and share inputs on costumes, set design and other aspects. This is followed by a period of incubation where the ideas grow and mature within their minds. For Nolan, the first week’s rehearsals are a period of creativity sown with the seeds of these thoughts. Similarly for Monaghan, the model presentation moulds his vision of the production and the play, often leading to major conceptual shifts.
Monaghan also stresses that Druid’s crew are akin to “the fifth Beatle,” while Nolan adds that they are an unparalleled team to work with – an integral yet overlooked part of the Druid assembly, with whom they share a unique understanding.
Although Nolan and Monaghan share a close bond, daily communication between the two is not commonplace. Tongue-in-cheek, Nolan comments that he might call Monaghan after a fortnight, jestingly asking “You don’t love me?”, akin to a line from the play.
Their conversation segues into the central theme of Endgame. Monaghan admits that articulating the essence of the play is a challenge. It’s a narrative about four individuals confined in a room, exploring interdependent relationships. Yet, many intellectuals have tried and failed to unearth its underlying meaning for the past half-century, without any success.
They are not particularly bothered by the meaning during initial rehearsals. During their run of Waiting for Godot, Monaghan confesses that he was initially overwhelmed with such existential questions. He had initially shied away from Beckett’s work, feeling it was too academic and exclusive. However, playing the character of Estragon over three years granted him a newfound comprehension of Beckett’s work, though he admits he cannot articulate this understanding.
The apprehension that often accompanies interpreting Beckett’s work is absent this time round, as his offerings are clear and precise. When these are executed, a response is invariably elicited. It is intriguing to observe the range of interpretations the audience take away. Overemphasising a specific meaning or line may detract from the audience’s experience. Our strategy has therefore been to faithfully follow his instructions and this simple act holds meaning for the spectator,” shares the director.
Nolan shares this perspective, “You can attempt to understand Endgame, but one doesn’t truly grasp its entirety,” he comments, referring to Theodor Adorno’s essay, Trying to Understand Endgame. Recounting his experience with Beckett’s plays, Nolan says, “We must’ve performed Godot over 300 times, with me as Pozzo, and it continued to offer fresh insights. It never turned monotonous. The enigma of Godot, or Beckett, or Endgame, grows larger the more you feel you are getting close to understanding it. It would be unjust to limit its potential by trying to define it. Like a mystery play, Endgame’s charm is in exploration, not resolution, mirroring life’s unanswerable questions.”
“After experiencing Beckett’s work, everything else feels a bit underwhelming,” he admits, “His plays start by setting the stage, laying out the intentions and then diving right into the content. Consider the stage direction for Endgame: ‘It’s time it ended, in the refuge too. And yet I hesitate to… I hesitate to … end.’ It’s a compelling way to pull the audience in.”
This week, rehearsals shifted to Galway, a move Nolan describes as entering into a conclave. The outside world seems to fade, and the team dives into concentrated and focused work. The essence of the theatrical piece is formed in something akin to an osmotic process. The participants, who are freelancers from Dublin, find it crucial to the whole procedure and for the company, “that Druid is rooted in the west of Ireland, specifically in Galway, projecting to the globe as a touring company”. This Galway-based rehearsal regimen is part and parcel of Druid’s approach, akin to joining a sort of commune. Even some portions of the play might be run during the evening. The experience feels like living and working together, even sharing breakfast. It’s immersion and yet, fun.
Monaghan is revitalised by this immersive living-rehearsing experience. His memories of rehearsing the four DruidShakespeares – the 2015 condensed versions of historical plays, all prepped simultaneously in a span of just eight weeks, still remain vivid. Evening conversations often revolved around the day’s work or the following day’s tasks. He fondly recalls moments at midnight, when they would be sharing a meal, a cup of tea or a pint of beer, engrossed in deep discussion about the work. He says, “I recall thinking then, ‘I wish this would never end.’ We seemed to be perpetually working, yet it remained fun, as Rory would say.”
Nolan speaks of the lineage and evolution within Irish theatre, referring to it as a stunning cycle involving profound names such as O’Casey, Synge, Murphy and recognising Beckett’s contribution. Nolan elaborates how, when performing Beckett, influences of Synge and O’Casey are traceable. He asserts that Beckett’s work, despite being of a different era post World War II, must have been shaped by these influences considering he was present during significant incidents such as the riots of 1907 and The Plough and the Stars’ riot in 1926, and his connection to Murphy’s precision. Quoting Tom, Nolan emphasises the importance of strict adherence to the punctuation, comparing deviation from the writer’s notes to an unsuccessful cake rise. Nolan identifies Beckett’s work’s unique qualities as its tonality, exact pauses, and rhythm.
Moving forward, Nolan talks about the learning process with DruidSynge in 2005. He shares how Monaghan gained insights from Marie and Garry on delivering Synge’s lines correctly, focussing on punctuations and rhythms of Murphy’s work. He clarifies that Druid’s approach is always about respecting the text.
He goes on to discuss how commonly people discuss Druid’s treatment of a play. However, he reveals that Druid’s true merit is in its reverence for the author, which becomes apparent in the rehearsal room. The audience’s appreciation of the play’s brilliance and the tribute they pay to the writer, rather than attributing the interpretation to Garry, Aaron or Rory is what Druid cherishes. The respect for the writer emanates from Garry’s meticulous observance and deep admiration for the author’s work.
Nolan emphasises that Garry devotes an extraordinary amount of consideration to the beginning of a show, for it marks the audience’s initial engagement with the production. The recognition that the magic of theatre comes alive only with the presence of the audience is always acknowledged, even during rehearsals. Currently, preparations for Endgame are under microscopic attention, as they break it down into 16 separate parts as Beckett himself had done during his own directorial stint. The challenge lies in flawlessly portraying a seamless continuity.
Monaghan brings the conversation around to the consistency in Druid’s portfolio, questioning whether this coherence is a deliberate move by Garry. The last time he shared the stage with Rory, they played two characters – Joxer and the Captain, that reminded him strikingly of the Godot vibe, during the staging of Juno and the Paycock in the DruidO’Casey sequence.
These O’Casey plays, set a century ago, explored the founding of the State, and highlighted the journey of two women gaining independence in a bleak, catholic Ireland. The future seemed uncertain to him for characters Mary and Juno.
He asserted following the Abbey’s dismissal of O’Casey after The Silver Tassie in 1927, Beckett represented the next major presence in Irish theatre. Beckett’s stark difference from Synge and O’Casey yet the traces of influence in Beckett’s work intrigued him. For instance, he compared the ‘Well of the Saints’ by Synge to a Beckett production. As a cast that frequently regroups, these themes serve as guidelines or discussion points.
In Irish theatre, common themes or ‘through lines’ are acknowledged. Speaking to these patterns, Nolan references the instances of Pozzo and Christy’s simultaneous consumption of chicken on stage accompanied by Garry’s cries of ‘Playboy!’. Meanwhile, Monaghan intelligently retorts with an account of his numerous performances in Druid plays where he finds himself devouring chicken within scene. However, Nolan playfully counters that he has invested even more time in similar roles within Druid theatrical pieces, reaching a point of redundancy with the supposed fatsuit he adorns. His colleague engages in the banter by pointing out the apparent fatsuit, a statement that Nolan, with a smirk, claims he’s always compensated for.
The Druid Theatre Company is to launch their version of ‘Endgame’ at the Town Hall Theatre, as an integral part of the Galway International Arts Festival, starting on Tuesday, the 16th of July. Preview shows have been scheduled for the Saturday prior, the 6th of July, and the eve of the opening, Monday, the 15th. The show is set to run up until the concluding Sunday of that month, the 28th July.