At Leinster Cricket Club in Rathmines, a hard-working team is in the process of rehearsing for the forthcoming premiere of Mark O’Rowe’s latest tension-filled drama, Reunion at the Galway International Arts Festival. Taking advantage of a pleasantly sunny evening, acclaimed actors including Robert Sheehan, Cathy Belton, Catherine Walker and Stephen Brennan bring the script to life under the direction of the playwright himself. The specificities of their performance choices – such as Sheehan’s decision not to don his coat – adds layers of meaning to the play.
Despite this new creation, some may posit that O’Rowe has been absent from the theatrical scene for a while, with The Approach, staged at Project Arts Centre, being his last known work six years ago. However, the lively and witty playwright, famous for his dry humour, convincingly dismisses this suggestion, revealing he has been actively writing and adapting for a range of platforms, including television.
As it turns out, the distance between his last play and his current project has more to do with the economic realities of professional writing than lack of creative ideas. O’Rowe, who owes his initial success to hard-hitting plays such as From Both Hips and Howie the Rookie, has also dabbled in films, among them John Crowley’s Intermission and the impactful drama, Boy A, lauded for its role in boosting the career of Andrew Garfield. Nonetheless, his heart remains in the theatre, as demonstrated by the previous successes of Our Few and Evil Days in 2014 and The Approach in 2018. Acknowledging financial constraints, O’Rowe states firmly, “If I had the funds, I would exclusively write plays.”
The latest production of “Reunion”, a work of great reputation, has been masterminded by Landmark Productions for the Galway International Arts Festival. The plot employs the traditional method of trapping a raucous family within confined quarters. In this circumstance, relatives from different generations have to deal with their issues in a household situated on a secluded island off the western coast. O’Rowe’s work in this play, as always, is characterised by his talent for discovering poetic cadence in spoken language. The dialogue includes a variety of sharply delivered insults, revealing hidden secrets in the process.
“The previous work of mine, ‘The Approach’, consisted of three conversational segments with minimal activity, almost resembling a radio drama. It was appreciated, however, the visual redundancy began to bore me. Consequently, I aspired to infuse vitality and dynamism in my subsequent work. The isolated house on the island facilitates this by creating a situation where several characters have to remain together in one place, unable to leave,” he elaborates.
He identifies an affiliation with the plays of Chekhov and old Irish “big house” dramas, while the setting may also draw comparisons with Ingmar Bergman’s films.
When questioned if he outlines his plays prior or proceeds instinctively, he responds, “To be honest, I can’t say there’s an established framework I strictly adhere to.”
Belton, Walker, and Brennan play key roles, while expert young actors including Venetia Bowe and Desmond Eastwood depict the younger generations. A common misconception is that any actor would jump at the opportunity to perform in a Mark O’Rowe production due to the complex conflicts and emotional intensity, which O’Rowe refutes to some extent.
“Numerous actors, especially those on the threshold of significant success, have declined me in their pursuit of a prosperous career,” he admits surprisingly.
Despite his acclaimed reputation, he acknowledges a certain reality, “There exists a vivid contrast between theatre and film, primarily in terms of money and exposure. While film offers recognition and financial gain, theatre for me is more of a vocation and not a money-spinning endeavour.”
Mark O’Rowe’s plays are notable for their unique blend of crude topics and poetic finesse. Despite the years and a few inevitable wrinkles, O’Rowe continues to uphold his artistic integrity, as reflected in his recent works. The transformation of the larger culture is evident if one juxtaposes the current playwright with his early career, which started prior to the millennium.
Back then, much discussion revolved around his working-class roots. His passion for kung fu movies, followed by the profound influence of David Mamet’s artistic genius, drew attention. His depiction of violence attracted tiresome comparisons to Quentin Tarantino, an unfair simplification which didn’t serve either the Irish playwright or the American filmmaker. Noteworthy, is the debut of ‘Crestfall’ at a renowned Dublin theatre in 2003, famously headlined as “Bestiality at the Gate”.
While he faced criticism, O’Rowe was not alone; his younger contemporaries in Britain, notably Sarah Kane and Mark Ravenhill, were similarly pushing boundaries. As the playwright comments, this was part of a larger trend, “There was a bit of a movement around that at the time,” mentioning plays such as ‘Shopping and F**king’.
In the face of clichéd journalism tropes, O’Rowe is questioned about supposedly ‘mellowing’ now that he is older, married, with children, and shouldering middle-aged responsibilities. As the host of Galway International Arts Festival, he finds humour in the direction the conversation is heading.
Posed with the question, “Have I mellowed?” he responds with amusement, “The plays were fantastical and violent and sexual and everything else. I need to say this without judging other people who might still like that stuff, but, at this stage in my life, I can’t go back any more. Everything has to be new to me. There’s no point in doing the same thing again.”
Significant as a milestone in his career, O’Rowe sees his 2007 work ‘Terminus,’ arguably his most innovative play, as a pivotal evolution in his journey as a playwright.
After Terminus, I found myself losing interest in similar forms of theatre production. It felt repetitious and uninspiring. I needed something that could seize my attention, something I couldn’t easily shake off, a subject that really needed to be delved into and expressed. I hold a deep sense of pride for my initial work, yet that symbolises the younger version of me. Now, as an older man, my work mirrors my maturity. If this is indicative of mellowing, then I suppose I have become more mellow. I would choose growing and evolving over continuous repetition.
As for the issue of social class, I cannot recall a period where concern over theatre being chiefly middle class hasn’t prevailed. No rational mind would hold the belief that either the Angry Young Men of the 1950s or the Marxist fringe during the 1970s resolved this issue indefinitely. In fact, there’s heightened apprehension regarding the increasing difficulty for working class actors to survive in the current harsh economic climate. When asked about his perspective on this, does O’Rowe believe we have regressed or progressed?
“Opportunities for staging a play are scant,” he remarks. “The environment has seen a seismic change. I stepped into the industry towards the latter days of the playwright era, a time when the playwright was highly revered. Now, an emerging trend referred to as ‘theatre-making’ is in place. Some of these productions can be exceptional. I wouldn’t denounce this genre entirely. But, as with all forms of art, there are those who excel and those who fall short. There are countless contradictions that spring to mind. As always, people will exploit the system for their own gain.”
He conveys a look of uncertainty.
“Additionally, I’m finding it increasingly difficult to comprehend the current cultural trend within the arts and cinema. This is something that we all seem to be grappling with.”
A heightened sensitivity?
“Exactly, along those lines. However, I find myself at a loss on how to address it. It could be my age mystifying me to these changes.”
Could it be asked whether these early works would find a place in today’s theatre?
O’Rowe, a renowned writer, shared his thoughts on his role in the writing process of the TV adaptation of Normal People. He went on to express how valued popular plays are around the globe, stating that their worth isn’t based on their class representation but instead on their quality. He clarified that a play’s standard, not its working-class theme, earns it a spotlight.
While O’Rowe often talks about the challenges of earning a living through theatre writing, he has seen substantial interest from TV and film producers over the past years. One example of this is his directorial debut film, ‘The Delinquent Season’, featuring Cillian Murphy and Andrew Scott, which hit the screens in 2018. He also notably served as the showrunner for the 2019 Sky series, Temple.
Drawing comparison to Aaron Sorkin, who writes 22 episodes a year for The West Wing, O’Rowe shared that he had written 7½ episodes of a show. However, he expressed his preference for a stress-free life over the high-pressure nature of TV writing, stating that he’d gladly accept less income to write plays.
During an interesting period, he played a part in the television sensation of the year by co-adapting Sally Rooney’s Normal People, which grabbed millions of viewers amid the initial lockdown anxiety of 2020. Unlike his co-writer, Alice Birch, who worked on 11 episodes of the series, he was responsible for a single episode only. However, he amusingly mentioned that they both receive equal recognition every time their names are mentioned together in reference to the show. This, he believes, would infuriate him if he was in her shoes. In a show of humility, he wished for her to be the sole claimant of the adaptation, pointing out the stark differences between his own works and Normal People.
O’Rowe definitely stands out in his originality. With repeated themes within his work, he has managed to thrive due to his keen mind and agile manoeuvring. Moreover, his possibly mellowed character doesn’t imply absence of ragged aspects in Reunion.
He expresses amusement over the plot of the play mirroring real life. “I love how the play is about Dubliners taking a trip to Galway just as we Dubliners are planning to do the same at Galway. Quite funny!”
Just a heads-up.
Reunion will be showcased at the Black Box Theatre from July 12th to 27th, during the Galway International Arts Festival.