In this compelling and moving solo play, Downton Abbey’s Ruairi Conaghan tells the story of the murder of a loved one and the lasting and unpredictable trauma that flowed from it. At a time when the violent legacies of Northern Ireland’s recent past have never been more important to talk about, this acclaimed show uses storytelling, song, poetry, humour, cinema and Shakespeare to tell this courageous, joyous, uplifting tale of recovery. Performed with raw, courageous, soul-bearing honesty. If we can find empathy, there is always hope.
Would you mind giving us a brief insight into what your show is?
Lies where it Falls is a one-person show written and performed by Ruairi Conaghan telling the tale of how as a Northern Irish Actor whose Uncle was murdered by the IRA during the troubles, how could I reconcile playing Pat Magee, The Brighton Bomber and IRA man who attempted to assassinate Margaret Thatcher and her government in 1984. The fallout from playing that role, particularly from meeting Pat Magee and how in his next job as The Player King in Benedict Cumberbatch’s Hamlet, the speech of King Priam’s slaughter by the assassin Pyrruss began to create the image of his Uncle’s murder in his head. Although what appears at first a very weighty subject, this story is told using cinema, Shakespeare, stand-up, music and story to entertain and inform, hopefully leaving the audience understanding that with finding empathy there is always hope.
Tell us about the creative team and the process involved?
Ruairi Conaghan is an award-winning actor who has worked on Broadway, The West End, The Royal Court, The National and many of the major theatres around the UK and Ireland. Also appearing in shows such as Downton Abbey, Waking The Dead and The Catherine Tate Show.
Patrick O Kane ( Director ) is more noted for being one of Ireland’s most acclaimed actors having won 2 Irish Times Theatre Awards and appearing in Game Of Thrones, Doctor Who and The Fall.
Dylan Quinn ( Movement Director ) Dylan is an award-winning Choreographer and Dancer who has just returned from New York having worked on Owen Mc Caffertys play Agreement.
I began writing this play in 2019. Then with the help of The Arts Council, it began to develop it on stage firstly with the Director Raz Shaw then in Northern Ireland with Patrick O Kane. Although COVID slowed up the process it did give us time to really work hard on dramaturg of it and so the script was in really good shape when I started to perform it and I’m sure that is why it played so successfully at The Lyric Theatre Belfast.
How does it feel coming to the Fringe?
Exciting, terrifying, thrilling but understanding that it is the International nature of the Festival that is so important to my play. Although it is particular to one area of conflict this is a universal story of the impact of trauma and how we can find a way to heal. Where better than the fringe to bring home this message.
There are over 3,000 shows at the Fringe. So, what sets your show apart?
There will be many political plays at this year’s fringe, particularly around the themes of conflict but my story as well as being an uplifting one also has a uniqueness. What can happen to an actor when they seek the emotional truth of that character who represents the organisation that nearly destroyed their family. What is the impact of that? How theatre itself can be a nurturing and supportive world that can bring you through trauma. How important stories are of The Northern Irish conflict are becoming so important as the Legacy bill means that no more trials can be brought to justice.
Is there anything specific you’re hoping the audience will take away?
Firstly I want my audience to be thoroughly entertained. That has been the reaction to it so far but also to leave with a sense of hope. That there is a way to get through trauma and the crippling impact of anxiety. Tell your own story. If it’s truthful, people will listen. But also to gain an understanding of the brilliance of ensemble theatre ( even if this is a one-person show ) and an insight into how that works . The beauty of language, even how the words of Shakespeare have such relevance today, particularly around Mental Health. But hey also to understand how brilliant an actor Jimmy Cagney was and how fantastic The Jam were as a band!
Your ideal audience is in attendance, who’s watching? Or more importantly – who isn’t there…
Everyone. This is a universal story. It relates to us all. No matter how diverse we are. Have the courage to tell your story.
I’ve told mine.
It’s an intense month, so where you’re able, how do you plan to relax, and are there any other shows you intend to see or want to recommend?
I understand that being a part of the Edinburgh fringe means hard work and a very focused mindset. But I have chocolate that will be my friend. ( Not great for the voice though). I hope to build new relationships with other theatremakers. Find my audience. Discover many other exciting shows in the same way that I hope that others will discover mine.
In your ideal world, how can we improve the Fringe, of performance, and the industry?
This is my return to the fringe after many years and I suspect it will be extraordinarily different and I’m good with that. I don’t mind the competition because I have confidence in my own show. Why else would I be going. Funding is forever difficult. That is not the Fringes fault. But I do wish that things could be made somewhat easier for us. Perhaps things might change soon
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