As part of the Irish state’s “Decade of Centenaries” programme, I was commissioned to write a piece, Volunteer, to commemorate the concluding historical event of the decade 1912-1922, the Civil War. Events explored during this time include the likes of The 1913 Lockout and The 1916 Rising.
I chose the tragic story of Carlow man, Seamus Lillis, who was executed for his activities as an anti-government combatant during the Civil War, which followed the Irish War of Independence.
The story is told from the perspective of a young man, close to Lillis’ age, on the eve of his emigration to America. The narrator sees this new independent Ireland as a country with no place for him, and ponders on the tragedy of men like Lillis dying for something he so readily discards.
I set the story in Duggan’s shop on 59 Dublin Street, Carlow, a premises I grew up in. Over 300 years old, the shop and public house have witnessed all of Ireland’s historical developments from Cromwell’s invasion to The Good Friday Agreement.
In the corner of the shop, which my parents renamed ‘The Wine Tavern’ (and what I have recently been using as the pop-up art space, TBA Pop-Up), stood, an ancient, person-sized, coffee grinder. It fascinated me as a child, especially because we continued to use it to grind customers one pound bags of Bewley’s coffee beans. I was more often than not the monkey doing the grinding. I imagined it being the silent observer of events 100 years ago and so I feature it in the story, Volunteer.
Thanks to County Carlow Arts Office for selecting me to write ‘Volunteer’ and to Christopher Power of Carlow Library for his help in researching it.
I am pleased and grateful to receive an Arts Act Grant to develop my screenplay, Amongst Wolves, about the adventures of a 6th-century Irish monk. The story explores the nature of monastic life, examines his struggle with his faith, and follows him on a dangerous journey across a chaotic and brutal medieval Europe to establish a famed place of learning in northern Italy.
Amongst Wolves examines themes of faith, sacrifice, and isolation. The story explores man’s vulnerability before the advent of the protective benefits of science and technology, the nature of time in a world without distraction and the idea of life with a purpose. When the world was hostile and barbarous, some men set out to spread learning and hope; this is their story.
The Arts Act Grant is provided by Carlow Arts Office who have been very supportive of my practice over the years. I plan to use the money to create treatments and pitch-decks in order to seek further development, or even production, funding from the likes of Screen Ireland or from independent production companies.
“She had turned 3, this chatty little girl, who was cute in both senses of the word, had eyes that matched Trevor’s jeep. The color of the Californian skies. She called him treasure. I have a picture of him carrying her on his shoulders; the sun sparkling through her party pink butterfly wings. “
My latest (and 4th!) performance at the Contemporary Irish Arts Centre, Los Angeles, was the most rewarding. The invitation to read a piece of poetry on the theme of memory at their “Time Before Now” event prompted me to write something new, something specifically for it. My memories of Los Angeles, the place I’ve called home on and off for 22 years, are coloured by a catalogue of loss. This was my opportunity to LARP Proust and go in search of lost time.
At this Poetry Ireland sponsored event, I was amongst actual poets and was introduced as such. A bit embarrassing. Was I a poet, and I didn’t know it? I demurred and disavowed this title, announcing I was not reading a poem but a testimony. I read a piece entitled ‘Losing, my memories of Los Angeles’ that addressed the abduction of my daughter, the death of my father, and the ending of my marriage. All this revolved around the death of my close friend Trevor Murray, who welcomed me to LA when I first arrived and whose 19th anniversary fell on the day of the event.
Not exactly a barrel of laughs. But I felt I addressed a subject that affects everyone: loss. I also attempted to avoid self-pity. I wanted to share the truth of my life in a city of sunshine and sushi, ocean breeze and swaying palm trees. All these things constitute my joyful daily experience of the city, but they are marinated in memories of bereavement and dispossession. The bitter-sweet reality is that the process of making memories accompanies the inevitable erasure of time. To make a memory, it seems, you must take a loss.
I’ve known actor-writer-director James Callis for over 20 years, ever since he came to live with me on arrival in LA in the early noughts. Leaving behind a stellar career on the London stage, including award-winning performances in plays alongside Bob Hoskins, and on the screen, as the universally loved best friend in the Bridget Jones Diary franchise, James was re-locating to take on the Everest of Hollywood. He would subsequently conquer the small screen with his unforgettable portrayal of Dr Gaius Baltar in the much-celebrated remake of Battlestar Galactica.
But James is also a writer and director, having co-written and co-directed the feature film Beginners Luck starring Julie Delpy. So it was no surprise when he told me he had embarked on recording a dramatization of his emergent novel Morpheus Descending. I first read the manuscript a decade ago and encouraged James to develop it as it embodied many of the qualities James displays in his acting; wit, playfulness, and a mastery of the dramatic flourish. The post-apocalyptic genre it navigates is also a world he knew intimately.
When James asked me to contribute to the project, I leapt at the chance. Having followed its path for a decade, I felt invested in what had now become a.k.a. Blackbird. Besides James’ virtuoso performance, he engaged the copious talents of many of his Battlestar cohorts, including Edward James Olmos, Mary McDonnell, Tricia Helfer and Michael Trucco. It was a thrill to be in such brilliant company.
The resulting work is a seven hour-long, sci-fi opera (almost literally as James had composed all the accompanying incidental and scored music) that was replete with penal colonies, intergalactic warring forces, clones, meta-narratives and identity crises. The next stage of this monumental work is being explored as I write this. Perhaps the ultimate form of a.k.a. Blackbird will be a serialized drama or published as the most epic audiobook in history. Either way, for me, this 2022 Space Odyssey has been the ultimate trip!
As a culmination of the writing residency in Carlow examining the mechanics of dramatic writing, I set the writers’ group an assignment to write a one-minute monologue for radio.
I wanted the group of twenty-odd writers to create something as a final assignment. I also wanted them to write something that could be produced during the residency. I stressed throughout the programme that, unlike literary writing, dramatic writing only exists to be performed. Performance means collaboration, and collaboration implies a toing and froing of creative input. To understand the nature of drama as a writer, you must understand the needs of actors, producers and directors.
So that was the requirement, to have something completed and then have it performed. It wasn’t reasonable to expect neophyte writers to produce a screenplay, even a short film screenplay, in that time, much less have it filmed. Covid obviated a staged performance; having actors and an audience in a room was not feasible. So I settled on monologues; these could be written and re-written within the schedule, and, again, considering the time constraints, actors could rehearse and perform them. I also chose the radio as the medium. The actors would not need to commit the lines to memory, and the potential audience would be more significant than whatever audience we could fit in a room.
Not every member of the group submitted a piece, but we had the actors from the Carlow Little Theatre Society read every monologue completed. Out of a dozen or so monologues, we picked 8 to rehearse and subsequently record. Carlow College, St. Patricks was very helpful in supplying a large room to rehearse and a sound-proofed room to record, and Monica Hayes of KCLR FM was very kind in coming twice to record. A covid scare meant one of our actors, Gemma Lawlor, was unavailable before Christmas to record Dorenna Jennings moving piece ‘Number 3 Store Street’, so we taped it in January.
In a subsequent post, I will supply details of all the pieces, including writers and actors and the recordings themselves, but it’s nice to know it’s all in the can.
This week, I was invited by producer Steven Rajam to contribute to his BBC Radio 4 show on Flann O’Brien’s The Third Policeman. Steven had heard my RTE show on Brian O’Nolan, Bones of Contention,and thought I might give my dhá phingin on this posthumous masterpiece. Never backward about coming forward on Myles na gCopaleen, I eagerly obliged.
As part of the Exploding Library series, which takes a fresh look at classic novels, this episode had Comedian Mark Watson examine the under-valued gem by the man from county Tyrone. A couple of the same voices that featured in Bones of Contentionwere there, including the always engaging Julian Gough. My own contribution was modest enough but I was delighted to be involved nonetheless. I do love radio.
My previous flirtation with the BBC was also on Radio 4, when Steve Punt travelled to Ireland on the trail of murdered Hollywood director, William Desmond Taylor. The Punt PI team came to Taylor’s home town of Carlow and interviewed me on the man and land of his birth. All great craic.
Anyway, here’s my latest contribution to auntie Beeb: Link
Following in the footsteps of the likes of playwright John McKenna, poet Jessica Traynor and songwriter Mick Hanley, I am taking up the post of Writer in Residence in my hometown of Carlow, Ireland.
The residency will involve teaching a weekly class, weekly one-on-one consultations with aspiring writers and developing a drama along a local theme. The course is on the fundamentals of dramatic writing, including writing for stage, radio and animation but with a focus on screenwriting.
I have written numerous dramatic pieces based on local events and characters, from the brutal aftermath of the 1798 Rebellion to the mysterious murder of Hollywood director William Desmond Taylor. I have no doubt I will unearth another intriguing tale buried in the town’s past.
The first half of the residency will be conducted remotely, in line with Covid protection restrictions, but the latter half will happen ‘IRL’ in the magnificent 18th-century surroundings of Carlow College, St. Patrick’s.
“St. Pat’s” is the alma mater of the most celebrated rebels Ireland has produced, including leading Young Irelander James Fintan Lalor, legendary Fenian, John O’Leary, Easter Rising martyr, Michael O’Hanrahan, and the instigator of Australia’s Eureka Rebellion, Peter Lalor. Will I be able to tap into that renegade spirit during my sojourn?
The program, supported jointly by the Arts Council of Ireland, Carlow Arts Office, Carlow County Library Service and Carlow College, St. Patrick’s, concludes a three-year cycle with my contribution that runs from September 1st until the end of the year.
“Los Angeles-based Irish artist, Marc-Ivan O’Gorman talks with Catherine Flynn, Director of Irish Studies at Berkeley, 5 PM, March 17, 2021. Working across the genres of fiction, film, theater, radio, and musical performance, O’Gorman has created reinterpretations of James Joyce’s Finnegans Wake and of the writings of Brian O’Nolan/Flann O’Brien/Myles na gCopaleen, as well as original feature films and shorts. With a career spanning Ireland, India, and the United States, O’Gorman reflects on narrative, genre, and medium.”
Delighted to accept the commission by Los Angeles-based Actor-Producers Sophie Meister and Marta Garcia Morilla to write and direct the short film ‘Juana & Mia’, a dark comedy about love, madness and friendship.
It was a dirty old day when they buried him a second time.
October flung a grubby shroud over Tullow street; the ground was still wet from the night before. Killeshin, beyond the crumbling wall of the castle, was fading into a dreary mop of clouds.
I had come into town; I hoped for the last time. The sullen day matched my mood. I should have been in New York eating hamburgers and drinking soda pop, instead I was standing at the counter in Duggan’s, waiting my turn to buy a pound of tea.
The hefty one behind the counter was talking ten-to-the-dozen to the dwarfish one in front of me.
I won’t miss this carry on.
There was no doubt, but the Belgians were going to build their beet factory. The ladies agreed things would change around here when Carlow becomes the industrial hub of the Free State. That’s right, lads, a terrible beauty is born above on the Athy road. I hope it stays fine for them. I’ll be long gone. I should be gone already. I should be looking from the stern of the “SS America”, waves smashing themselves into a froth against the hull, watching Queenstown disappear from view.
Sorry, “Cobh”. That’s the way things are going to be around here now? Eponymous names for everything. “What’s the name of that mountain? ‘Moun-tain’, and that river?, “Ryver”, right, don’t tell me, they call that forest, “Forest”, yeah but spelt, in illogical Gaelic, P H O double R I E A S triple T. Let them at it. It’s not my country anymore.
In the corner, the young fellow was taking his time milling the coffee in the black iron grinder that towered above him. He was winding the wooden handle like a galley slave. The continuous crunching of the roasted beans against the rotating burr spread a friendly aroma throughout the wooden paneled room, and offered the added bonus of almost drowning out the ladies’ prattle.
Gossip from the old ones covered recent deaths (someone was always after dying in this town) and the day’s news (Dev getting arrested in Newry). Watching the wheel of the grinder spin, I drift off, imagining covered wagons rumbling over the desert, or the piston wheels of a massive engine pulling out of Chicago to bisect vast wheat fields of Illinois. The flickers are my only source of information about America. I’m sure none of it is true, but it has to be better than this place.
Would I ever come back?
Maybe to visit, never to live.
Never to live.
I am convinced the old pair will sell up and move to England. Why would they stay? It is their home and the home of their parents and grandparents, but there is no future for them here now. My father made his objections known loud enough and often enough to raise the ire of many a proud nationalist. They were lucky they weren’t burnt out of it years ago. It could still happen.
It makes no odds to me. I’ve spent as much time in Surrey as I have here. Of course, around Cranleigh, or Horsham, I was the Mick and the Paddy. Oh tug of the forelocks and clean out the lower yard. But don’t you worry, I never missed an opportunity to remind them that it took one of my kind, an Irishman, to put a stop to Napoleon. They didn’t like that, the boys of the lower sixth, primed as they were to take up the reins of power in the pink parts of the map. Ex Cultu Robur. From culture comes strength. So It was the lusty recitation of “Ode to a Grecian Urn” that persuaded the Nawab to hand over Calcutta to Clive and not the 42 pound shot that was showering down on him. Culture. It didn’t appear to me that there was too much interest in the soul-nourishing qualities of art for art’s sake. Padding up for the first eleven, or executing a stiff-arm tackle in your own 22, were the sort of things that made you Head Boy. When it inevitably came to leading your small band of men to dominate a continent of discontents, being well-drilled and tight-knit was more important than your appreciation of the Pre-Raphaelites.
I kind of hated them all, and not just because they’d never accept me into their club. I would go wandering alone on the Weald and kick the heads off daffodils. The rolling hills littered with copses of Field Elm reminded me of Ireland. I don’t know why, but it always made me think of Clogrennane Woods.
As I sped to and from Waterloo on the Great Western, amid the passing green blur, my mind would drift back to climbing over Rochfort’s ruin as a young lad off on summer adventures.
Waterloo, sure wasn’t that the place my boy, Irish Arthur Wellesley, put manners on little Boney. That would stick in their craw alright.
“Amelia Rochfort was in buying wine and whiskey for her party”, I heard the woman behind the counter say. “She’s a grand age but you wouldn’t get much past her”. Was this woman reading my thoughts? Suddenly, I was interested in their chat. The boy had stopped turning the handle but momentum kept the wheel spinning in a pleasant thumpity-thump of my future transcontinental journeys. “She cleaned us out, it’s going to be a big do”. Right, this was the Rochfort’s farewell party. I had heard about it, though no sign of an invite to the goodbye bash at the big house. After 100s of years, the family is doing what I’m doing and getting the hell out. Rats and a sinking ship. Though I’m volunteering to leave. They’re forced out by the ghost of Reverend Robert Rochfort, the Slashing Parson. I wonder will he turn up at the party like Banquo, in his clerical garb, wielding his cat-of-nine-tails dripping with the blood of executed Croppies? It’s a hard thing to live down, even in death.
A moon-faced girl enters the shop carrying her barrel hoop and says in a timid voice that the James Lillis funeral is coming. The big one comes from behind the counter and, with an air of propriety, shuts the front door and turns off the lights. The boy puts his shoulder to the wheel to slow its spinning. The room becomes silent. I hear the footsteps of a large crowd approaching. This is obviously a significant event, but I’m lost; I don’t know who this fellow is. The same woman tells the dwarfish one that it’s the exhumed body of the Volunteer they shot last year, and it starts to come back to me.
A year younger than the century but a year older than me, Lillis was found in possession of a gun and executed by the government. Across the whole country, perhaps, ninety IRA men were rounded up and put to death, but Lillis was the only one to be shot in this town.
“It’s the likes of Dev that are to blame for putting the gun in that young man’s hand.” the rotund one says, “It should have been him that was shot, the Spanish blackguard, not some poor unfortunate from Bagnalstown.” “They only went after him because he switched sides” replies the other. “Not at all.” the fat one splutters, “He only pretended to be a Free Stater to get into the barracks; he was setting them up for an ambush. But for whatever reason, it never happened, and he had to go into hiding. Either way, they weren’t satisfied until they hunted the fellow down and had him shot.”
From what I can remember of the case, Lillis was caught somewhere around Borris and then brought to Dublin to be tried. Like that Englishman, Childers, if you were caught with a gun you were condemned to death. Once they had decided his fate, they sent him back to the barracks in Carlow. Would they have buried him there, on-site? There is hardly a graveyard in the barracks? I wonder how many people have met their maker up there? They must have executed a hundred people there during the Rebellion. Of course, there’s no end to the killing still happening around this country. If I stick around, I might end up like those lads in Dunmanway.
“Imagine, he was a month up there in the barracks waiting to be shot, the poor crater.” “I heard they were going to break him out, but he wouldn’t go along with it because he thought he’d get a reprieve.” “And then they dragged him out and shot him in the coal yard; you wouldn’t treat a dog like that.” “He shouldn’t have been in Castledermot shooting at national army soldiers from behind hedges.” “He was a volunteer, Mary; that’s what was expected of him.”
Did he volunteer for this? To be shot on a bitter winter’s morning in his 23rd year. To spend his last days carving his name into a door frame of a damp cell? Is that what he signed up for? Did he really choose? I wonder if this role was given to him, a role he felt he had no choice but to take. I know nothing about him, but I have seen how people behave in this country. They do what’s expected of them. I say that, but my father was dead set on me, following in his footsteps. I can’t say I’m sorry to disappoint him. It’s fine; he has another son to mould in his image – the poor bastard. But it leaves me with only one choice: exile.
The carriage appears in the shop window carrying a coffin draped in a tricolour. I take off my hat. The women fall silent. A mass of ashen faces follows the hearse. Like a weird dream, the unsettling quiet is only checked by the tramp of feet and the sound of the horse’s hooves. There’s some crowd of mourners. Is the father who named him or the mother who bore him among that number? What a difference a year makes. He gets a hero’s farewell the second time of asking. He would have liked that. But given the choice, would he have preferred to meet a nice girl and have a clatter of ruddy-faced sprites like the ones in this shop? Maybe, given the chance, he’d leave the country like me. He’d go see the world. He’d have done something with his life. But he volunteered.
The last of the cortege pass, and after a respectable moment, the shop woman puts the lights back on, adding brightly, “You know, we were the first business in town to get electricity”. She indicates to the young fellow, dully scratching his neck, to resume grinding. Returning to her original position, she asks, “Now, what is it you’d like?”
‘Volunteer’ was commissioned by the Irish Government’s Department of Arts, Culture and the Gaeltacht to commemorate the ‘Decade of Centenaries’.
The play I wrote about an Irish film director, William Desmond Taylor, who was murdered in his Los Angeles home in 1922. Tinsel town of the silent era was thrown into chaos as the killer was never caught. The ensuing scandal remains one of the most notorious in Hollywood history. This show was first performed in 2014 and will be staged Taylor’s hometown of Carlow, Ireland, in the Fall of 2022 to commemorate the centenary of his death.