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You can paint your placards 'til the cows come home, but until you
have marched through this town in five inch heels and fishnets, you
will never know what it is to truly be a faggot on the front line.
Told against the backdrop of Dublin's burgeoning gay rights
movement of the 1980s and 1990s and the contemporary LGBTQ+
community of today, Once Before I Go charts the close friendship of
Lynn, Daithi, and the luminous Bernard, and sits on the
exhilarating edge between comedy, tragedy and melodrama. Exploring
the fragile yet resilient bonds of Irish queer lives across three
decades in Dublin, London and Paris, the play steps between the
early days of the AIDS crisis and today's LGBTQ+ community, living
in an era of marriage equality, gender self-determination, and
untransmittable HIV. At once political, joyous and heart-breaking,
Once Before I Go honours the fabulous people we lost along the way,
and celebrates those who fight on. This edition was published to
coincide with the world premiere at Dublin's Gate Theatre in
October 2021.
HEROIN by Grace Dyas, Trade by Mark O'Halloran, The Art of Swimming
by Lynda Radley, Pineapple by Phillip McMahon, I ? Alice ? I by Amy
Conroy, The Big Deal edited by Una McKevitt, Oedipus Loves You by
Simon Doyle & Gavin Quinn, The Year of Magical Wanking by Neil
Watkins Edited and introduced by Thomas Conway This anthology
comprises eight new plays by Irish playwrights premiered between
the years 2006 and 2011. These playwrights ride, however, in no
slipstream of the identifiably Irish play. Here, the enterprise of
playwriting itself is being re-imagined. Here, above all else, is a
commitment to becoming in the theatre. For all that, each play is
concerned with what is unfinished business in Ireland. How
astonishing, then, that these plays should revolve for the most
part around identity and, in particular, sexual identity. How
identity comes into play, how we open up the field of play, how we
raise into collective experience the exercise of that play - the
urgency in the playwriting would appear to lie precisely here. We
can read from the historical moment - from a narrative emphasizing
an economic bubble and its hangover - into these plays. Or we can
take these playwrights at their word and observe lives lived at the
contour of identities in the making. It is for us as readers, just
as we have as theatre-goers - frequently scandalized, enthralled,
shamed, appalled, unburdened, tickled pink - to decide.
Michael hasn't been home in almost twenty years. Having been kicked
out of the seminary and exiled from his family home, he found
himself in London, by accident rather than design. But now, the
death of his mother sees him back in the small town where he grew
up. The place that chewed him up and spat him out. Reunited with
his two brothers, their partners and the local clergy, there are
questions that want answering and old scores that need laying to
rest. Where do you find home, when your family and faith have
abandoned you? An Irish funeral brings out the best and worst in
people, and a long night of truths lies ahead.
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