What Good is Looking Well When You’re Rotten on the Inside?
08:00 - 23:59
Written and performed by Emma O'Grady
Thu 6 Dec 2018 8.15PM Draíocht Studio // €16 / €14 conc / Early Bird €14 (Book before 7th Sept 2018)
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One month before his death, retired civil servant and man of few words Paddy O’Grady had a sudden urge to talk. Using a portable cassette tape recorder, he recorded 15 hours of material: stories about leprechauns, aliens and lonely pharmacists; absurdist political satire; musings on life, love and death; radio shows with advertisements for products that never existed; ballads and poetry; and memories of life as a civil servant.
Paddy’s granddaughter, Emma O’Grady, later discovered he had written plays, poems and short stories in the 1950s and until now his work has been without an audience. This one-woman show - created with multiple directors - examines the fractured and fragile personas we present to the world, who we might be behind them and what we could be instead. What Good is Looking Well When You’re Rotten on the Inside? is a piece about emotional inheritance and grief for wasted creativity that serves as both a tribute and a warning.
Supported by the Arts Council, Galway City Council, Galway Theatre Festival, Mermaid Arts Centre and Áras Éanna (Inis Oírr)
Directed by: Jonathan Gunning, Catherine Ireton, Caroline Lynch, Andy Smith.
"...a multi-layered theatrical mosaic ... [Emma] created a deep, warm, and rewarding conversation with this departed and fascinating man ... a compelling, bravura performance." Galway Advertiser
"... beautifully realised ... a feast of nostalgia, sentimentality, and a picture of relationships past and present. This is a play about family, but also about individuality. It makes for a great story. Paddy’s tapes are the focus of this piece, but it is Emma O’Grady’s skill as a performer that gives them new life ... a striking piece of theatrical work, which will ensure O’Grady’s well-earned place in the Irish theatre canon. This is a playwright to watch." Reviews Hub
"O'Grady, in a slyly restrained performance, uses the arch effects of contemporary theatre to rebel against a superficial society in which artists are unwanted. Most ingeniously, she has crafted a play that can locate virtuosity hidden in the most allusive places." Exeunt Magazine