“HEDY! The Life & Inventions of Hedy Lamarr” at the Galway Town Hall Theatre

Photo Credit Al Foote III

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Sprightly and humorous, Heather Massie’s one-woman show documents the life of Austrian Hollywood and inventor Hedy Lamarr (1914 – 2000). After having appeared at the Galway Fringe Festival previously, the international production was staged again in Galway in the Town Hall Theatre on the 29th May 2018 at 8pm with a Q & A at the end. It is part of a planned trilogy by Massie highlighting women in science.

It opens with an exposition of video footage of Hedy and the show features a recording of her voice. She is presented as reappearing from the dead to tell her story which has often been misrepresented or forgotten. This is all done with gracious, affectionate address to the audience without a hint of bitterness. She often comes directly into the crowd to interact with them as herself, although at other times Massie switches to impersonate different characters in the story. The props are simply two tables, some chairs, an old-fashioned telephone. A version of the flip cell phone she helped create makes an appearance. It’s all decked out elegantly, much like Hedy herself in a bejeweled dress.

Hedy fostered a self-taught interest in applied science, first encountered while growing up with her parents, although her mother encouraged her to learn music and performance as a young lady. After marriage, she came up with the idea to change the squarish shape of aeroplanes for efficiency. Her joint patented idea of The Secret Communications System with composer George Antheil to evade the threat of torpedoes being jammed in the Allied effort during WWII could have saved many lives if taken on board by the US Navy against the Nazis. After initially rejecting the idea from an actress, the US Navy used it during the Cuban Missile Crises.  Her intellectual ingenuity is boasted of via comic responses to award recognition her invention finally gets. Also referred to as Frequency Hopping or Spread Spectrum Technology, her invention is used today in cell phones, WiFi, CDMA, GPS, Bluetooth and other wireless systems. She continued to doodle inventions into her later life.

Massie captures the style of a bygone era in manner and voice, telling the story of the ugly duckling who would be later dubbed The Most Beautiful Woman in the World and inspire the creation of Snow White and Catwoman, as well as many woman who copied her look with dark hair parted in the middle. This  notoriety did her no favours, however, when it came to being taken seriously. One man admired her beautiful mouth which he said prevented him from listening to a word she was saying.

The behaviour towards women in the film industry during the 1930’s – 50’s is outlined with ironic light-heardedness. While Lamarr is known for acting in many films such as her role in Samson and Delilah in 1949 and produced a few films herself, she featured in the controversial film Ecstasy in which she was duped into being filmed nude from afar without being aware of the high-power telephoto lenses. The film was banned in America for being overly sexual, and by the Nazis because of Lamarr’s Jewish origins just after her escape from mainland Europe from a stifling husband who tried to buy the film outright out of jealousy. Hypocritical American producers critically evaluated the actress’s body behind the facade of family-friendly censored film standards.

This theatrical biopic deserves the acclaim it has been awarded at various festivals around the world. It brings to life this intriguing lady and the individuals she engaged with, including her three children and some of her six husbands. It positively highlights her achievements as well the ups and downs of her life; a celebration of her scientific prowess without renouncning her graceful charm and arts background.

Heather Massie as Hedy Lamarr - by Al Foote III (1).png

“Apoptosis” in the Galway Town Hall Theatre

The play for you “if you’re the kind of person who doesn’t have a five year plan.” (Director Rebecca Spelman)

Directed and written by Calamity Theater’s founder, Rebecca Spelman, what started out as a one act play at the Galway Fringe Festival has now developed into a full length comedy drama three times the original size. It was now performed from 25th to 28th February 2019 in the Town Hall Theatre by Claire Ahearne, James McKenzie, Lucy Pollock, Sean Gandolfi, Joe Bohan and Tim Meaney. Its 80 minute run time packs in some big themes on the meaning of life as it relates to past, present and a bit of the future. Particularly, the options available to Baby Boomers and Millennials regarding work, love, society and religion are explored.

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Its depiction of modern friendship includes an adult coach squatter who doesn’t pay rent, can’t hold down a relationship and doesn’t have a job. His working friend, Claire, however doesn’t fare much better, having to deal with a skiving boss and unclear duties. We see her fending off the unreasonable customer entitlement of of an older woman and the inappropriate attention of her husband. The latter could have been better dealt with in my opinion. It is laughed off later on and those in charge do not properly hear this part of her account, something she reports only after the couple apparently make a complaint and she is called in.

In this scene, she tries to explain the rest of the affair and the hopelessness of her life situation. Trying to secure retail jobs without the unattainable “three years experience,” rejecting the dole as inadequate, compromising her ideals and barely surviving are things many young people today might relate to — right down to living off apples and pasta packets. It’s no wonder that she and her mooch of a friend come back to the emotional safety and moral simplicity of childhood TV shows and the nostalgia they evoke.

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The disruptive older couple have problems of their own as the traditional marriage-and-kids formula doesn’t pan out. The wife doesn’t work and “contributes” to the household, but cannot have children. The husband has cheated with an affair that lasted years and doesn’t seem to listen to her. They are clearly estranged yet for some reason still live together in bitterness. In the past, meta narratives were supposed to provide purpose through life’s trials, but it’s evident they didn’t always work.

Between scenes, we are in the hands of an indefatigable narrator with slides, a poster boy for Powerpoint presentations. He introduces and addresses the various topics, providing commentary on cultural trends and expectations. The treatment of religion is not completely objective, rather toting the secular side. That said, the comedic narrative maintains its distance from the plot, except when the narrator himself breaks down on the topic of loneliness. Cue, the annual get-together with the two Millennial friends where they drown their sorrows, knock back pills and blare nightclub music to reach a state of stupor and oblivion. It also seems the concept of a dystopian, fictional future is more comforting than the present.

The play doesn’t provide immediate solutions; it simply tells you to do whatever makes you happy. It’s the message that the narrator feels is worth dying to tell. The production has been called nihilistic, but perhaps Apoptosis is really about nipping destructive paths in the bud and living in the now.

Rebecca Spelman
Playwright and director Rebecca Spelman studied BA Drama & Theatre Performance Studies in NUIG before founding Calamity Theatre.
Apoptosis cast
The cast of Apoptosis at the Town Hall Theatre. All photo credits Piotr Łyszkiewicz.

Volunteering as Press Assistant for the Galway International Arts Festival 2018

In Ireland’s festival city, volunteering at the Galway International Arts Festival is a popular choice for many during the summer. This is the biggest, two-week affair we have to offer, so young and old, from a variety of educational backgrounds, show their appreciation for the Arts and welcome audiences from around the world by volunteering as ambassadors, general volunteers or for behind the scenes roles. Having signed up last year through their website I got the chance to be thoroughly in the know of the entire programme during their training sessions for ambassadors. I learnt what shows were selling out quickly and how to give recommendations. I also got to participate in the assembling of cardboard boxes for the People Build, a renowned international architectural project by Olivier Grossetete that comes back to GIAF this year featuring a new iconic Galwegian building.

This year, I decided to take a backseat and apply for the Behind the Scenes role of Press Assistant. This position fits particularly well with my chosen discipline, journalism. As with all Behind the Scenes roles at GIAF, an interview with each candidate takes place with the relevant people in charge in order to choose the best person for the job. Undoubtedly, one of the advantages of volunteering with the Arts festival is the flexibility in working hours; general volunteers in particular can build their own schedule according to their availability and interests via the online volunteer portal or alternatively have one made for them. Of course, there are the added perks of a free official t-shirt, wristband and food vouchers for those who sign up and you all touch base at the Hub located on Market Street next to the Connacht Tribune and the festival gallery.

I was located at the Black Box theater office on the second floor and I worked office hours every few days, depending on the need. My duties consisted mainly of sorting through national and regional newspapers of the day, then carefully cutting out any festival-related articles and ads. These are glued onto sheets and filed by date and publication in a folder for future reference and presentations, say, when they apply for funding. I’m also on GIAF main line phone duty which is a busy job as people ring in regarding tickets, shows, interviews or as Friends of the festival. I generally transfer their call to the appropriate office extension line. On my first day here, I made reminder notification calls to volunteers whose shifts had changed, directed them to the Hub or answered general questions. On occasion, I am asked by my supervisor, Kathryn, to deliver packages to the Post Office or Hub, cut out other information tables for lamination, fill and label envelopes for the free festival bus transport or staple together show handouts. Brushes with show directors are possible.

The atmosphere at the office is friendly and amicable, but also productive. There’s a lot going on, even downstairs in the hall where a performance takes place and the sounds of music or chanting drift through. There’s marketing, merchandise and producer gift baskets organised in the office adjacent. The walls are adorned with festival posters through the years with some amazing artwork. Since this month has been so hot, we have fans by each desk to help us cool down. Although unpaid, this is definitely a worthwhile occupation during the holiday break if you want to be part of the festival and add some capable experience to your CV in Arts admin and event management. If you’re lucky, you might even make your way to the top organising positions in time and earn yourself some cash. This is particularly suitable for upcoming artists who need some work on the side while they focus on their main passion.

For the general volunteers, it’s always a great opportunity to sign up with your friends, and of course make new ones. So why not support the fantastic talent from around the world and this great cultural city? Join the large army of reliable workers that each year the GIAF just can’t do without.

 

“Jungle Door” Preview: Interview with Rena Bryson

“A visual delight Jungle Door invites its audience to indulge in the joyous, disheartening and hopeful moments over a year shared by Michelle and Louise. Their problematic relationship as friendly ex-lovers is challenged by marriage, jealousy and the housing crisis. Smiling through the Botox, Michelle plans her perfect day unaware her bridesmaid is hiding a dark and dangerous secret.”

On the 29th of April 2018, Eva’s Echo Theatre Company is celebrating one year in business with the final rehearsal of their play “Jungle Door”. Rena Bryson has taken up the pen in order to write their contribution to the “Where We Are Festival” hosted by The Rabbit’s Riot Theatre Company in the north-west. She stars alongside her co-founder Hazel Doolan in a piece that will take them back to their home stage, the Sligo IT Black Box, on the 3rd, 4th (8pm) and 5th (2pm) of May. It’s directed by Elizabeth Flaherty and set designed by Sabrina Kelleher, with beautifully photographed projections and promotional shots by Piotr Lyszkiewicz.

On the 28th of April, I caught her for an interview on what we might expect and what they hope to achieve with “Jungle Door.”

“Jungle Door is a really fun piece in that it moves between the natural and into more abstract; a lot of use of digital media. I feel that it really reflects modernised Ireland and the focus is the relationship between the two characters, Louise and Michelle. It’s a very digital media based show in a lot of ways. There’s a lot of projections and seeing that live contact between the live body on stage and the digital representation. We’re kind of playing with how people represent themselves on social media through that.”

It’s been described as a “visual delight” brought into being by their director and new set designer. It also has some previously shot projections and elements of modern folksong. It can be seen as a comment on modern culture which is very much what Eva’s Echo tries to do in its ethos.

“Jungle Door looks at the housing crises and how this can have such an effect on people, especially younger people who are moving from rural communities and the jobs just seem to be in urban settings for them and the prices of the houses are just so ridiculous and just what can happen to people through that and dangerous situations that young people and especially young women can get themselves into. And it also looks on the expectations of our kind of generation, just societal pressures. So, one of the characters is getting married and she wants to live alone with her partner in the house even though they can’t afford it because it seems like that’s where they’re supposed to be at that stage of their lives.

“It also looks at beauty standards towards women. Michelle, especially as it’s come up to her wedding date becomes more and more obsessed with her looks and is eventually drawn towards plastic surgery to try and create this bridal look of this ridiculous idea that you’re going to look the most beautiful you’ve ever looked on this one particular day and that nothing should go wrong to affect that.”

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As regards the connection between the two main characters, she says

“Michelle and Louise are ex-lovers and Louise is definitely still inclined towards Michelle and it comes very much from a focus on what life was like when they were together and really wanting to hang on to that phase of life and to their memories and to their relationship and to the way that is was and not the way that it is anymore. But underneath all that, what ties them together is the friendship that was present in their relationship and it really holds them together and helps them support each other in the struggles that they face in modern Ireland.”

She feels happy with the progress they’ve made as a company over the last year and with “Jungle Door.”

” I feel that in the last year that we have achieved putting modern Ireland on a stage. We want to … bring in more younger people to the theatre. It’s not kitchen sink dramas all the time, it’s something that a modern generation can see themselves in, empathise with and a discussion of the issues that are affecting them.

“It’s been a great experience putting this play together and I’m just absolutely, ridiculously grateful to have worked with such an amazing team. It really is a very strong team and it’s the first time because we’re such a young company that we’re working with all the people that we’ve worked with before and its so great to see all those people back and in the same room together working towards the same goal. It’s been a really lovely experience. I’m excited for people to see the show.”

The “Jungle Door” team from left to right: Hazel Doolan, Elizabeth Flaherty, Sabrina Kelleher and Rena Bryson. Photos courtesy of Piotr Lyszkiewicz

For more information and tickets, be sure to check out the “Jungle Door” Facebook event page https://bit.ly/2KlWPiD as well as follow Eva’s Echo Theatre Company on social media.

“Once”

Is it the archetype busking film that springboarded all other Irish busking films? Above all, based on a true story, its vignette on human life and living of a certain socio-economic status is so realistic that it’s easy to nitpick on imagined faults.

Written by John Carney and starring the writers of the featured music, Glen Hansard and Markéta Irglová, this is a poignant and lifelike music film of struggling yet hopeful artists living in the Dublin cityscape. For those of you who know his work, John Carney does low-budget, independent films of this kind and one of his most well-known productions made it into the big screen in 2013 with Kiera Knightley, Adam Levine and Mark Ruffalo. “Begin Again” featured the song “Lost Stars.”

When the leading man meets the leading lady while busking with a guitar on the street, she decidedly makes the first move. Irglová gives a charming performance as a persistent, poised and mature Czech woman. Although not an actor himself, Hansard plays off her well as a down-to-earth Irish guy trying to make living and still follow his passion. She is insicive about his past love life which he writes about in his song and invites him to lunch after happily insisting he fix her broken vacuum cleaner.

What that would mean in 2006 I don’t know, but they develop a bond over music, as they are both singer-songwriters. He asks her to spend the night and she refuses, with a “fuck this.” He’s a lonely guy and she’s a gorgeous girl; the next day he promises her it won’t happen again and they can be friends, but what she doesn’t tell him until later in the film is that she’s in a namesake marriage with the father of her child.

The film undoubtedly gets most of its traction from its performance scenes but also its very human interactions. The most famous one is the scene in the piano shop where she goes often to play and where they perform “Falling Slowly.” Whereas that is the swell of initial attraction, the surreptitious backstage ballad or her moving rehearsal of lyrics to his music give insight into the characters backstory as their relationship blossoms. The actual busking, recording and listening back of the album they work on stages the kind of access hard to find without actually being on-the-ground in music production and performance. The comic opening sequence in which a man tries to rob the hero’s busking earnings and gets chased down the street almost steals the show.  The scenario where he sneaks his dad’s bike away to take her on a ride is touching, his earnest and her playful back-and-forth are relatable. It also paints a fair representation picture of foreigners living in Ireland.

It’s hard to come to a verdict on the two young people’s relationship. We never find out the meaning of the Croatian answer she gives him as to whether she loves her husband. His ex, who he writes songs for, who he’s going to revisit and who later stands him up, isn’t mentioned when they see each other. When he asks, for what seems like the twentieth time, whether she’ll come over to his apartment and spend time alone with him, she merely comments that it will end in hanky panky and “would be interesting.” She gives nothing away, yet we have to ask, if she feels she has responsibility to her child why does she let him get close to her in the first place? In the end, it’s an understandable and affecting closing, a almost-love story of a tangential connection that ends in ‘once, I knew this girl…’