WEBVTT - Irish Playwrights 0:00:04.680 --> 0:00:07.160 Welcome back to artists and artists and artists and artists. 0:00:07.240 --> 0:00:12.159 This week on the show, the most incredible artists that 0:00:12.200 --> 0:00:15.440 have ever existed Irish Playwrights. 0:00:15.800 --> 0:00:20.040 Ireland is known for its rich culture and even richer art, 0:00:20.520 --> 0:00:25.720 and nothing captures the inspiration of dark, brooding, yet whimsically 0:00:25.760 --> 0:00:29.200 funny plays like Irish playwrights. 0:00:29.600 --> 0:00:33.000 There are countless famous Irish playwrights we could name, but 0:00:33.159 --> 0:00:36.519 we got four of them and sat them together in 0:00:36.520 --> 0:00:37.720 a room to talk. 0:00:37.520 --> 0:00:41.159 About their craft. So sit back and listen. In Ireland, 0:00:44.440 --> 0:00:45.199 so I says. 0:00:45.000 --> 0:00:45.440 To the guy. 0:00:45.760 --> 0:00:48.559 I says, I'm going to need a pint if you're 0:00:48.600 --> 0:00:51.080 going to hear my stories. He pours me a pint, 0:00:51.440 --> 0:00:53.600 And there I am sitting at the bar right on 0:00:53.680 --> 0:00:56.880 the coast, just wondering, you know, when is the fuse 0:00:57.000 --> 0:01:00.360 going to blow on this fella? When is this book 0:01:00.920 --> 0:01:04.560 going to absolutely lose his fuse. We sit there for 0:01:04.680 --> 0:01:07.319 hours and hours and hours. All of a sudden, he 0:01:07.360 --> 0:01:10.000 tells me, you know, I'm a twin. I go, huh, 0:01:10.040 --> 0:01:12.160 I've been a twin this whole time. Him and his 0:01:12.200 --> 0:01:14.560 brother have been switching every time they go back to 0:01:14.600 --> 0:01:18.399 the bar, and it's actually influenced two boys by the 0:01:18.440 --> 0:01:18.959 sea for me. 0:01:19.800 --> 0:01:25.840 Oh yeah, twins, twin God's trick. Twins have always been 0:01:25.920 --> 0:01:29.760 God's trick, the greatest trick God has ever pulled. 0:01:30.120 --> 0:01:32.400 A twinking too at once you think it's twins. 0:01:33.200 --> 0:01:35.240 Well, what a folly for man to say, I'm one 0:01:35.240 --> 0:01:37.640 of a kind. To look next to you and see 0:01:37.680 --> 0:01:39.680 someone who's one of your kind as well. 0:01:40.040 --> 0:01:42.280 Well, you've heard the legend of the Double Saints Day. 0:01:42.480 --> 0:01:47.119 No I haven't. Now what's the legend of the Double Saints. 0:01:47.360 --> 0:01:50.400 The legend of the Double Saints Day goes as follows. 0:01:51.160 --> 0:01:52.360 Fifteen ninety two. 0:01:52.520 --> 0:01:59.280 There's a royal scribe who's loyal to the king, and 0:01:59.480 --> 0:02:02.120 every day he takes his coffee and he writes down 0:02:02.160 --> 0:02:02.760 his ideas. 0:02:02.760 --> 0:02:04.680 He says, yes, sir, yes, sir, yes, sir, yes sir. 0:02:05.200 --> 0:02:07.720 Then one of the days he strangles him to death, 0:02:09.240 --> 0:02:13.960 and the king is so confused, and that's when the 0:02:14.040 --> 0:02:18.519 double of him steps out from the church, but looking 0:02:18.600 --> 0:02:21.040 exactly as the same as the man who murdered him. 0:02:21.520 --> 0:02:24.160 And that's why we celebrate Double Saints Day, because on 0:02:24.240 --> 0:02:28.040 that day there were two saints, but one was evil. 0:02:29.720 --> 0:02:33.240 They made an evil state. 0:02:38.360 --> 0:02:40.840 The story again because it's too painful if you tell 0:02:40.880 --> 0:02:44.440 a story twice, that makes the twin of a story. 0:02:44.800 --> 0:02:45.720 And I am. 0:02:45.560 --> 0:02:48.080 Not I'm not a superstitious man, but I do not 0:02:48.320 --> 0:02:51.760 like to replicate ideas lest they become another and killed 0:02:51.760 --> 0:02:54.040 the king. 0:02:55.639 --> 0:02:57.760 We're four minutes into this episode. I like to talk 0:02:57.800 --> 0:03:00.760 to everyone about moments they've seen in their life. 0:03:02.000 --> 0:03:05.079 I think I saw God. 0:03:05.919 --> 0:03:06.760 Do we say our names? 0:03:06.800 --> 0:03:07.600 And when we saw God? 0:03:07.639 --> 0:03:09.560 And when you saw God? Some of your works? And 0:03:09.560 --> 0:03:12.400 then maybe when you saw God, if God exists at all. 0:03:12.680 --> 0:03:15.160 Now that's a query for another day, a query for 0:03:15.360 --> 0:03:15.800 hid Pint. 0:03:16.200 --> 0:03:20.200 There might not be another day. There's no guarantee that 0:03:20.240 --> 0:03:22.200 we are ever going to see out of this episode, 0:03:22.280 --> 0:03:22.640 is there? 0:03:24.240 --> 0:03:25.160 I like to hope. 0:03:26.160 --> 0:03:29.480 I know that I'm a living, breathing person. But when 0:03:29.520 --> 0:03:34.119 this recording shuts off, do I continue? I would say yes? 0:03:35.240 --> 0:03:37.800 Will you say yes tomorrow? Will you be able to? 0:03:38.360 --> 0:03:39.440 Will you be able to? 0:03:39.760 --> 0:03:45.280 Will you be able to? So go ahead, tell us 0:03:45.360 --> 0:03:47.960 some plays? Your name and when last year you first 0:03:48.920 --> 0:03:50.520 me enough? 0:03:56.480 --> 0:03:57.880 My name is Samuel McCleary. 0:03:58.560 --> 0:04:00.560 McCleary, I and I wrote to. 0:04:02.440 --> 0:04:05.440 Waiting for One Sister by the Long Dark. 0:04:05.240 --> 0:04:09.000 Peer, one of the most famous Irish plays to come 0:04:09.000 --> 0:04:10.600 out in the last century, I would say. 0:04:10.720 --> 0:04:15.560 Two sentences waiting for one sister period by the dark, 0:04:16.000 --> 0:04:19.280 what is it at the dog for. 0:04:19.279 --> 0:04:22.320 One dark sister period by the peer. 0:04:22.480 --> 0:04:23.040 By the peer. 0:04:23.160 --> 0:04:27.679 But it was waiting for one sister period period period 0:04:28.160 --> 0:04:30.159 at the end of a long dark pier. 0:04:30.360 --> 0:04:35.080 Yes, which is interesting because that's not a complete sentence 0:04:35.120 --> 0:04:35.920 at the end of the dark. 0:04:36.320 --> 0:04:37.200 That's what I like about it. 0:04:37.240 --> 0:04:39.800 Well, you think it is until you read the rest 0:04:39.839 --> 0:04:43.359 of the play, and that's when it becomes clear that 0:04:43.560 --> 0:04:47.720 there was a sentence where there ought not be because 0:04:47.920 --> 0:04:50.080 we ought not to be watching this, we ought to not. 0:04:50.080 --> 0:04:50.680 Be reading this. 0:04:51.800 --> 0:04:55.000 Irish playwrights, the act of writing for us is the 0:04:55.040 --> 0:04:58.720 act our language. We have a work a way we 0:04:58.760 --> 0:05:02.720 work with language tis unlike anybody else. It's our playtool 0:05:03.120 --> 0:05:06.560 with their periods wherever we want. We make things look 0:05:06.600 --> 0:05:10.040 like poems when they're simply just dialogue. It's what we do. 0:05:10.560 --> 0:05:11.320 It's what we do. 0:05:11.640 --> 0:05:16.600 And this this, this, this play that was born in 0:05:16.600 --> 0:05:20.880 in my heart and and and and translated to the stage. 0:05:21.680 --> 0:05:25.000 It tells the story of two men waiting and waiting 0:05:25.040 --> 0:05:27.800 and waiting for their sister because they're all going to 0:05:27.839 --> 0:05:30.960 go fishing together and they can't wait to fish with 0:05:31.000 --> 0:05:34.479 their sister because they've heard she has a great shot. 0:05:35.160 --> 0:05:36.760 They with the fish. 0:05:37.120 --> 0:05:40.960 She she has a special way of fishing where she 0:05:41.080 --> 0:05:44.920 shoots the fish with a rifle. And the two men 0:05:44.960 --> 0:05:47.720 can't wait to see this technique. And they can't wait 0:05:48.240 --> 0:05:51.919 unless they try it themselves, lest they believe in themselves 0:05:52.080 --> 0:05:52.680 muster up. 0:05:52.640 --> 0:05:54.640 The courage to shoot a fish on their own. 0:05:55.000 --> 0:05:55.400 They do not. 0:05:55.680 --> 0:05:59.680 They wait for the sister. And it is an exercise 0:05:59.800 --> 0:06:05.200 in futility. Because does the sister ever come, well, that's 0:06:05.279 --> 0:06:05.960 up for debate. 0:06:06.560 --> 0:06:10.000 If she does not, they starve. I thought, I. 0:06:10.640 --> 0:06:17.479 Love in I love when the big poffer fish comes in, 0:06:18.279 --> 0:06:21.679 and some interpret that fish to be the sister. 0:06:22.279 --> 0:06:26.640 Yes, yes, many interpret it as the sister. And that 0:06:26.800 --> 0:06:31.839 pofferfish usually played by uh traditionally played by a fellow, 0:06:31.880 --> 0:06:36.400 and drag is a fellow, a fellow in drag, a 0:06:36.440 --> 0:06:39.080 fellow in drag, a couple. 0:06:41.600 --> 0:06:44.600 Fellah in drag. And it is. 0:06:44.839 --> 0:06:50.000 And when when the poffer fish sings the ballad of 0:06:50.000 --> 0:06:54.880 of of the Ocean, it is then that the brothers 0:06:54.960 --> 0:06:58.080 realize their futility. And I know a bit about futility 0:06:58.120 --> 0:07:01.640 because I well, I was raised on a farm with 0:07:01.720 --> 0:07:03.760 my siblings, and. 0:07:03.600 --> 0:07:07.240 We had the sheep. But the sheep were too cold, 0:07:07.800 --> 0:07:14.480 and so they wouldn't produce enough sheep stuff wool. 0:07:14.840 --> 0:07:24.280 They wouldn't enough, they wouldn't produce enough warm and I stories. 0:07:25.320 --> 0:07:26.160 So here's the dilemma. 0:07:26.160 --> 0:07:29.400 It's actually quite profound. The sheep were too cold to 0:07:29.480 --> 0:07:31.960 produce the very wold that would save them. 0:07:33.920 --> 0:07:35.360 So when was the last time you saw God? 0:07:36.200 --> 0:07:36.600 Yes? 0:07:36.680 --> 0:07:41.520 And Samuel, how, I'm fifty seven and I see God 0:07:41.600 --> 0:07:49.160 every day. I look in the mirror and I believe 0:07:49.240 --> 0:07:51.920 he has possessed me. I believe he has possessed my 0:07:51.960 --> 0:07:54.240 spirit and he won't let go. And he's demanded that 0:07:54.280 --> 0:07:56.360 I write these plays. I don't want to write them. 0:07:56.640 --> 0:07:59.680 I wish I didn't have to, but God has told 0:07:59.680 --> 0:08:02.920 me to. And that's where I see called. 0:08:02.800 --> 0:08:07.040 Fifty seven's good ripe age to write. Yeah, I stated, 0:08:07.200 --> 0:08:09.720 the fifties are the Irish playwrights twenties? 0:08:10.640 --> 0:08:15.000 Yes, yes, it's the fifties are basically you've left university. 0:08:15.080 --> 0:08:19.640 You've just left university and finally try and weird stuff. 0:08:19.680 --> 0:08:22.840 You know, your biological clock is ticking. As a playwright 0:08:23.040 --> 0:08:24.960 when you get to mid fifties and you go I 0:08:25.040 --> 0:08:26.280 got to write to play. 0:08:26.520 --> 0:08:30.360 It's literally like I sometimes teach a course at Trinity 0:08:30.400 --> 0:08:33.640 College in Dublin. Chiez. Of course, for these twenty year olds, 0:08:33.800 --> 0:08:37.679 their scripts might, as will say, googoglea googola, and some 0:08:37.760 --> 0:08:38.760 of them literally do. 0:08:39.720 --> 0:08:44.040 In my forties, I only did one act, hit fifty 0:08:44.280 --> 0:08:45.559 finally told the rest. 0:08:45.360 --> 0:08:45.880 Of the story. 0:08:46.080 --> 0:08:51.360 Enough, introduce yourself, enough you all right? My name is 0:08:51.440 --> 0:08:56.880 Daniel Cricket. You've been a playwright my whole life. I'm 0:08:57.160 --> 0:09:00.880 seventy nine years old, about to dip into the great 0:09:01.000 --> 0:09:01.600 unknown that. 0:09:01.720 --> 0:09:04.000 Is eighty eighty. 0:09:04.040 --> 0:09:07.480 My father died at eighty, so now I will live 0:09:07.600 --> 0:09:11.320 the same life he has lived when he died. Will 0:09:11.360 --> 0:09:15.120 I've meet my maker the day he meet his I 0:09:15.200 --> 0:09:19.280 do not know, but I will see. I've written a 0:09:19.400 --> 0:09:22.640 very very famous play that's been done all around the world. 0:09:23.800 --> 0:09:27.000 It's called The goal Away Girl. It's about an old 0:09:27.040 --> 0:09:29.960 woman who lives on a cliff, who sees every man 0:09:30.080 --> 0:09:33.360 she ever loved as a ghost jumping off the cliff 0:09:33.679 --> 0:09:34.280 every night. 0:09:34.800 --> 0:09:38.480 Actually, most used a play for college auditions. 0:09:38.840 --> 0:09:39.920 I'm hearing that a lot. 0:09:40.640 --> 0:09:43.560 There's a beautiful monologue that is meant for an older 0:09:43.600 --> 0:09:45.720 woman that these college girls. 0:09:46.600 --> 0:09:50.480 I'm getting tagged on TikTok in sixteen. 0:09:50.120 --> 0:09:55.320 Year old Girls Challenges monologue, mondays, I want you to 0:09:55.480 --> 0:10:00.360 understand to all the little girls who are trying my monologue. 0:10:00.440 --> 0:10:03.000 That was written about to my ma, that was written 0:10:03.040 --> 0:10:08.480 about her in hospice, those were actual words she said. 0:10:08.800 --> 0:10:10.880 Would you read a little piece of it because I 0:10:10.880 --> 0:10:14.800 think the people need to understand the gravitas it takes 0:10:14.840 --> 0:10:18.080 for an older woman to say these words and the 0:10:18.120 --> 0:10:19.040 pain it causes her. 0:10:19.120 --> 0:10:20.280 Or do you want to read it or should we 0:10:20.320 --> 0:10:21.520 just play one of these monologue? 0:10:21.920 --> 0:10:24.160 I think we want to read it, and then we 0:10:24.200 --> 0:10:25.640 could play one of the clips. 0:10:25.280 --> 0:10:28.080 And then I'll send you one. It's act Tiffany boisterous. 0:10:29.440 --> 0:10:30.840 She's a fantastic actor. 0:10:31.320 --> 0:10:33.360 But read it the way you want it read on 0:10:33.440 --> 0:10:34.640 the cusp of eighty huh. 0:10:34.840 --> 0:10:37.199 All right, This is the way I imagine my Ma 0:10:37.400 --> 0:10:39.760 would say it, because this is how I'd seen her 0:10:39.840 --> 0:10:42.480 say it with her own words in the hospital. 0:10:42.520 --> 0:10:42.679 Bit. 0:10:45.920 --> 0:10:49.000 You men walk into my brain every single night, and 0:10:49.080 --> 0:10:52.920 your trapes around. You leave mud on the ground, you 0:10:53.040 --> 0:10:56.959 leave dirt and soot on my poor little memories. 0:10:57.640 --> 0:11:01.319 You act like you're nothing, and yet I look inside 0:11:01.320 --> 0:11:05.000 my head, I look inside my pantry, in the cutcase 0:11:05.080 --> 0:11:08.720 you've eaten, and the cold coffee you've left in the cups. 0:11:09.160 --> 0:11:11.120 I look around and I look at the. 0:11:11.040 --> 0:11:13.840 Stain in the sheets from the work in the mines, 0:11:14.040 --> 0:11:16.559 the coal you brought into my bed, the coal you 0:11:16.760 --> 0:11:21.400 left me with when you're gone, And I realize my 0:11:21.559 --> 0:11:24.520 life has always been reaction to the people that have 0:11:24.679 --> 0:11:28.480 walked all over it. My life has just been a 0:11:28.480 --> 0:11:32.200 mirror for people who are looking beyond me into their 0:11:32.200 --> 0:11:33.160 own brains. 0:11:34.040 --> 0:11:35.120 And now let's play the clip. 0:11:37.080 --> 0:11:41.640 You man just kind of triumph around in my head. 0:11:42.080 --> 0:11:48.360 Turn it off, turn it off, Turn it off for me, please, we. 0:11:48.360 --> 0:11:51.000 Turned it off. 0:11:54.120 --> 0:11:57.400 Pantry, dad, pantry on my mind. 0:11:57.840 --> 0:12:03.320 You're in here living as a reaction action. 0:12:04.440 --> 0:12:10.000 This man traps around my mind every night for Carnegie Mellon. 0:12:13.880 --> 0:12:18.640 TikTok. I think that's gonna help you. Sorry, sorry. I 0:12:19.360 --> 0:12:21.840 love the younger people. I love the younger people. I 0:12:21.920 --> 0:12:22.880 responding to it. 0:12:22.880 --> 0:12:25.720 It's hard to see my mother's words coming out of 0:12:25.840 --> 0:12:28.440 girls dressed in juicy cature. 0:12:28.840 --> 0:12:31.319 But I when you hear it from a different here's 0:12:31.559 --> 0:12:34.360 I do believe, just like a good songwriter, I can't 0:12:34.400 --> 0:12:38.760 do this, just like a good songwriter. Sometimes a good 0:12:38.800 --> 0:12:43.360 writing can be moved from different povs. I know that 0:12:43.360 --> 0:12:47.240 that strictly is your mom, but think about it a 0:12:47.240 --> 0:12:51.040 good song Sometimes they say doesn't matter the singer, and 0:12:51.080 --> 0:12:52.719 it's different and it's good no matter what. 0:12:52.960 --> 0:12:53.160 Well. 0:12:53.200 --> 0:12:56.280 Life is pain, life is death, Life is suffering, and 0:12:56.320 --> 0:12:59.480 we are out here as the lightning rods to pain 0:12:59.559 --> 0:13:02.160 and suffer so other people can feel that through our work. 0:13:02.440 --> 0:13:05.920 I think there's something powerful about a woman about to 0:13:06.040 --> 0:13:09.800 die seeing that monologue versus a woman about to start 0:13:09.800 --> 0:13:11.719 your new life in university. 0:13:11.920 --> 0:13:15.600 In a way, university is a kind of death, the 0:13:15.640 --> 0:13:16.920 death of the child. 0:13:17.559 --> 0:13:19.120 Go introduce yourself. 0:13:19.679 --> 0:13:25.200 Go, I will know me enough for you enough. 0:13:26.520 --> 0:13:26.679 Hi. 0:13:27.120 --> 0:13:30.400 Hello, my name is Hello. 0:13:30.559 --> 0:13:32.440 Hi ho hio to you. 0:13:33.360 --> 0:13:37.200 My name is Shannon dadra O'Shannon. 0:13:36.760 --> 0:13:38.680 Ah Shannon Shannon. 0:13:39.040 --> 0:13:44.400 I am from Dublin originally, and I am an Irish 0:13:44.440 --> 0:13:49.120 playwright turned movie writer. You might have seen me and 0:13:49.200 --> 0:13:53.440 some of my hit scripts. There are seven of us 0:13:53.679 --> 0:13:55.160 and one of us is going to die? 0:13:55.880 --> 0:13:58.080 Or What's up with that? 0:13:59.120 --> 0:14:03.040 M where I adapted Keaton Thompson's What's up with That? 0:14:03.840 --> 0:14:04.400 What is that? 0:14:06.240 --> 0:14:08.120 It's too long to explain, and I don't know if 0:14:08.160 --> 0:14:09.120 I can even talk about it. 0:14:10.920 --> 0:14:15.240 Ad no, no, no, no no no. Adaptation is the great 0:14:15.400 --> 0:14:16.160 Irish dance. 0:14:16.320 --> 0:14:20.480 Yes, it's taking an American ip and turning it, turning 0:14:20.520 --> 0:14:21.320 it Irish. 0:14:21.600 --> 0:14:25.040 I want to tell you, Shannon, I love your plays. 0:14:25.400 --> 0:14:25.720 Thank you. 0:14:25.760 --> 0:14:30.760 I love your play Eliza's Big Ocean Adventure. I love 0:14:30.840 --> 0:14:35.200 your play The Father Son and Ricky. I love this 0:14:35.360 --> 0:14:38.720 new movie you sent me a screenplay. You're adapting the 0:14:38.880 --> 0:14:39.960 Fuggy Doug Dolls. 0:14:40.760 --> 0:14:43.640 So I'm adapting the Fuggy Doug Dolls. You doing that 0:14:43.760 --> 0:14:47.880 day Mattel has got me doing this amazing piece where 0:14:48.120 --> 0:14:50.920 they give me full liberty to write an original story 0:14:50.960 --> 0:14:54.840 about the Fuggy Doug doll dolls. These are an amazing doll. 0:14:55.360 --> 0:14:57.480 One of them is going to die in the first act. 0:14:58.120 --> 0:15:00.240 I don't know which one is going to die. And 0:15:00.280 --> 0:15:03.000 then the rest are going to go to a house 0:15:03.680 --> 0:15:07.560 where the doll lived, and by living in the house, 0:15:07.640 --> 0:15:12.160 they're going to remember both the beauty and the pain. 0:15:12.280 --> 0:15:15.240 Of their dead doll. What number draft are you on? 0:15:15.400 --> 0:15:16.560 I'm on fifteen? 0:15:16.840 --> 0:15:19.720 Oh, and what's your ideal number? Draft? 0:15:19.920 --> 0:15:20.440 Fifteen? 0:15:20.960 --> 0:15:23.520 Oh so close to looking at a Yes, So for me, 0:15:23.720 --> 0:15:27.040 I write one draft one draft, Throw it away. I 0:15:27.080 --> 0:15:29.040 want to throw it in the river. I write another 0:15:29.120 --> 0:15:31.840 draft based off of the memory, the memory of what 0:15:31.880 --> 0:15:33.240 I wrote in the first draft. 0:15:34.320 --> 0:15:35.200 Throw that one away. 0:15:35.560 --> 0:15:37.680 Keep three pages, just get activated. 0:15:37.840 --> 0:15:38.920 Keep three pages? 0:15:39.120 --> 0:15:39.760 Got activated? 0:15:40.720 --> 0:15:41.560 What activated you? 0:15:42.040 --> 0:15:42.880 And it'll get ready? 0:15:42.960 --> 0:15:45.920 Okay, okay? Because I keep three pages, different random pages, 0:15:46.000 --> 0:15:50.320 and I let those dictate the act. Forget the story. 0:15:50.600 --> 0:15:53.600 Take those three pages, write a completely new draft. Those 0:15:53.680 --> 0:15:56.560 have to be the first three pages of the play. 0:15:57.840 --> 0:16:02.000 I throw that one away, forget the play, forget the 0:16:02.080 --> 0:16:06.320 play for four years away, for four years, four years. 0:16:06.360 --> 0:16:08.560 I put the play away. I put it away. 0:16:08.760 --> 0:16:09.520 Where do you put it? 0:16:09.600 --> 0:16:10.320 I put it away? 0:16:10.480 --> 0:16:10.720 Where? 0:16:10.920 --> 0:16:13.040 Throw it away? And put it away? TikTok, TikTok. Four 0:16:13.080 --> 0:16:16.000 years go by? What happens four years ago? Oh? Remember 0:16:16.040 --> 0:16:18.800 that idea? Then I again? 0:16:18.920 --> 0:16:19.760 Do you find it? 0:16:20.240 --> 0:16:23.600 I go find it? I find it in the cattle 0:16:23.640 --> 0:16:25.040 of my mind? 0:16:25.680 --> 0:16:27.800 Do you have to set a four year reminder for 0:16:27.920 --> 0:16:28.840 when these things come? 0:16:28.960 --> 0:16:33.400 My phone is always buzzing with these suns of calendar reminders? 0:16:33.440 --> 0:16:37.280 And I remember, what in the hell I'm talking about? 0:16:37.680 --> 0:16:42.920 Four thousand a baby? What could that have been? Oh? 0:16:42.960 --> 0:16:45.920 That sounds I have to be honest, quite funny four 0:16:45.960 --> 0:16:47.880 thousand of baby the thistle. 0:16:47.520 --> 0:16:49.280 On my side. I mean, what is this? 0:16:49.400 --> 0:16:52.840 What is it? If it's lost, it's lost. It's just 0:16:52.920 --> 0:16:53.600 like a grave. 0:16:54.000 --> 0:16:56.240 It's never meant to be. If it does meant to. 0:16:56.160 --> 0:16:58.600 You, I say, that's about my children. If they're lost, 0:16:58.600 --> 0:16:59.280 they're lost. 0:16:59.640 --> 0:17:05.639 Bye, okay, okay, all right, it is time enough at last. Well, First, 0:17:05.680 --> 0:17:07.000 I see God in the flowers. 0:17:07.040 --> 0:17:09.040 Oh yeah, And where do you see God? 0:17:09.200 --> 0:17:13.200 Oh? I see God in the woman that I order 0:17:13.280 --> 0:17:17.360 from at Vicdonald's every morning. Her name is eliac Donald's Donald. 0:17:17.400 --> 0:17:20.680 If you go to fac Donald's, it's the Irish McDonald 0:17:21.200 --> 0:17:22.560 You say can I get a biscuit? 0:17:22.600 --> 0:17:24.639 And they say can you? And they throw coffee in 0:17:24.680 --> 0:17:25.040 your face. 0:17:25.080 --> 0:17:25.720 I love it. 0:17:25.960 --> 0:17:30.560 Yeahc Donald's Donaldcdonald's. 0:17:31.200 --> 0:17:38.080 I hello, enough enough, enough enough know me. My name 0:17:38.160 --> 0:17:44.200 is Guinness Scott. I am an Irish playwright sixty eight 0:17:44.280 --> 0:17:48.800 years old, and I wrote one of my most famous 0:17:48.800 --> 0:17:52.280 plays is Abortion on the Hillside. 0:17:53.720 --> 0:17:58.040 Abortion on the Hillside, Abortion on the hillside. 0:17:57.560 --> 0:18:01.000 Sir, abortional hillside with an incredit place, Sir. 0:18:01.520 --> 0:18:03.720 It was one of the most amazing plays, Sir. 0:18:04.160 --> 0:18:07.080 We thank you for writing Abortion. 0:18:06.720 --> 0:18:08.800 On a hairside, Sir. Sir. 0:18:09.119 --> 0:18:11.639 You're welcome, sir, man dude. 0:18:11.920 --> 0:18:15.879 The way that you handled it was with such grace 0:18:16.000 --> 0:18:18.520 Abortional on the hillside and with the empathy for both 0:18:18.560 --> 0:18:21.720 sides of the isle, where there are these people who 0:18:21.920 --> 0:18:24.000 you know, there are these women who are fighting for 0:18:24.040 --> 0:18:27.400 their rights. It is has been illegal in certain times 0:18:27.400 --> 0:18:30.919 in Ireland, so they are if they are fighting for 0:18:31.040 --> 0:18:33.720 the right over their own bodies. But then you also 0:18:33.840 --> 0:18:37.199 lend sympathy to the characters who have these ideas in 0:18:37.240 --> 0:18:41.240 their head, who are have grown up with this tradition. Yes, 0:18:41.920 --> 0:18:45.199 of no, of we fight that. Yes, and you have 0:18:45.280 --> 0:18:47.119 done such a wonderful job with it, sir. 0:18:48.000 --> 0:18:53.159 Dude, as Irish playwrights were all at the end of 0:18:53.240 --> 0:18:58.400 the day studying Catholicism, and the way you study Catholicism 0:18:58.840 --> 0:19:03.640 Unprotestant distantism in your work Abortion on a Hillside, sir. 0:19:04.359 --> 0:19:07.480 It opens with a girl. It opens with a girl 0:19:07.880 --> 0:19:12.639 coming up the hill. She's in her Catholic clothes from school. Yes, 0:19:13.480 --> 0:19:18.200 because all kids are in Catholic clothes, and has her books. 0:19:18.920 --> 0:19:21.880 And that's where we hear we see church versus estate. 0:19:23.040 --> 0:19:26.440 She sits on a hillside and decides throughout the whole 0:19:26.480 --> 0:19:28.520 play should she get an abortion? 0:19:31.280 --> 0:19:34.639 She reads her book, she sits around, she rolls around 0:19:34.680 --> 0:19:38.000 in the grass. Her young lover comes to join her. 0:19:38.560 --> 0:19:39.600 She doesn't mention it. 0:19:40.600 --> 0:19:41.720 They talk about bunnies. 0:19:41.960 --> 0:19:43.320 They talk about bunnies, which was. 0:19:43.320 --> 0:19:46.639 An apt metaphor, an apt metaphor, and I love the 0:19:46.680 --> 0:19:49.320 metaphor when she says, what if bunnies could get an abortion? 0:19:50.080 --> 0:19:53.120 That had the right lips. 0:19:52.960 --> 0:19:56.000 Of silence that follows the answer to that question is 0:19:56.040 --> 0:19:57.399 so profound. 0:19:56.920 --> 0:19:58.480 Thank you, and and I put that That's what I 0:19:58.520 --> 0:20:00.439 want to talk about stage direction. I what's that in 0:20:00.480 --> 0:20:05.800 the play? Because a lot of Irish playwrights won't, a 0:20:05.800 --> 0:20:07.880 lot of Irish play rights won't put that stuff in there. 0:20:08.000 --> 0:20:12.080 Yeah, well, what else say you? Is? I love that 0:20:12.119 --> 0:20:15.600 old your scripture about twenty three pages, and you have 0:20:15.680 --> 0:20:18.440 a lot of silence written in. You say ten minutes. 0:20:19.880 --> 0:20:23.399 Pregnant pause where life again at the beginning of a 0:20:23.400 --> 0:20:24.040 pregnant Paul. 0:20:24.680 --> 0:20:26.600 You know, by the way, would have been a much 0:20:26.640 --> 0:20:27.760 better title. 0:20:30.440 --> 0:20:31.719 Abortion on a Hillside. 0:20:32.320 --> 0:20:35.560 There's so much showing with See there's some Irish playwrights 0:20:35.560 --> 0:20:39.480 and love subtexts that love meaning understanding a little bit 0:20:39.520 --> 0:20:40.840 of an ambiguous message. 0:20:40.960 --> 0:20:43.120 You went straight with abortion on a hill. 0:20:43.160 --> 0:20:46.760 See, there's so much met so many beautiful metaphors inside 0:20:46.880 --> 0:20:47.240 the place. 0:20:47.320 --> 0:20:50.320 Yes, but girls talking about bunnies, yes. 0:20:50.280 --> 0:20:54.080 Talking about anything but the thing at hand, girls talking 0:20:54.080 --> 0:20:55.639 about abortion. 0:20:55.960 --> 0:20:56.440 Yeah. 0:20:57.000 --> 0:20:58.760 And I love the moment where she turns to the 0:20:58.760 --> 0:21:01.120 big willow tree next to her. What if a tree 0:21:01.119 --> 0:21:01.680 could get no. 0:21:04.800 --> 0:21:07.800 I mean it's amazing. What what kind of feedback did it? 0:21:07.840 --> 0:21:10.639 I remember you performed that at Saint Patrick's Cathedral. There 0:21:11.000 --> 0:21:12.200 they were not happy. 0:21:13.720 --> 0:21:14.320 To do it either. 0:21:14.520 --> 0:21:20.760 They weren't. Oh god, Ireland. The government in Ireland is interesting, 0:21:20.840 --> 0:21:23.800 right because you can write something so profound, you can 0:21:23.840 --> 0:21:29.520 write something so profound yet and culture the Ireland, the 0:21:29.560 --> 0:21:32.200 people in the world. Dublin, I think it was printed 0:21:34.359 --> 0:21:37.160 one million times within its first publishment. 0:21:37.520 --> 0:21:41.000