Drama

Theatre is often sidelined as peripheral to need. Yet the need it serves is perhaps the deepest need of all: the needs of the psyche; those parts of our makeup that are less accessible, less visible, even to ourselves. Drama is the stuff of dreams, fantasies and nightmares, which inform our conscious thoughts and decisions. Theatre is a powerful tool for transformation in a prison context. It allows the participants to access and articulate their feelings in language new and deeply felt. Participation in a play is about the personal development of the individuals involved. It is always worthwhile.

Working with Shakespeare in an Irish Prison

Shakespeare's Othello, adapted by Helen Hunt, was staged in Wheatfield prison in December, 2006. The production was given a modern setting and was very well received. Helen has been involved in drama productions in Wheatfield Education Unit since its beginnings in 1990 and Othello represents one of a number of Shakespearean plays that she has successfully adapted for use in prison. In 1998 she staged 'Shakespeare Unplugged', through which people were introduced to Shakespeare's language and in which five of his characters told their stories (in part) to a ‘Therapist’. At the end of each performance the audience was asked which character interested them most; which character's story would they like to hear in full? The majority wanted to hear Othello’s story. The story of a man brought to a jealous ‘rage beyond words' by whisperings, innuendo and deceit, seemed to strike a chord amongst the prison audience.
"However, the desire to explore Shakespeare's great text on this theme was one thing," says Helen, "The actual decision to do it could only be taken when (and if) we could find the right partners; the interpreters of the text; the players. A variety of life experiences, some as dark as those enacted in the play itself, came together to make this piece of theatre. The presence of so many international students among those who attend the Education Unit in Wheatfield made it possible for us to cast our Othello."
One of the cast members described Helen as 'not the director of this production; she is its soul.' and went on to say, "She believes that we all have it within us to appreciate the real thing. Better yet, Helen has the ability to make Shakespeare's writing accessible, without compromising it." Helen took a varied cast of prisoners, a couple of wonderful professional female actors and produced a stunning success.

Helen's essay on ‘Working with Shakespeare in an Irish Prison’ can be viewed by clicking the following link: Shakespeare.pdf

'Touching On' is a play that was first performed as part of a family support project in Dublin’s south inner city in 1998. It was written for a specific group who had come together to explore the effects of drugs on the community and family in that area.
Maggie Byrne, Drama teacher in the Medical Unit, introduced the play to her class with a view to adapting it for performance in the prison. It was well received by the group who committed to work together towards a performance in the prison. In December 2008, the play was performed for prisoners, teachers and the probation service. Because the original play had seven female roles, it was necessary to adapt and edit it to reduce these roles to three females. One of these was played by Maggie herself and the other two were performed by colleagues. The male roles were played by nine students.
The play centres around a recovering addict who returns to Dublin after doing time in England, where he also received treatment for his addiction. On his return to his native city, he is confronted by the changing face of Dublin and also the disintegration of his family. He struggles to come to terms with his past and ultimately decides to stay and face his future, remaining drug-free and offering support to his brother and sister. Comedy is used to lighten the story and the plot concludes on an up-beat note where family values triumph.
The response to the play was so good that they were asked to bring it to the main prison where it was a great success. After Christmas, the play was given another run in the Medical Unit and people from outside the prison, including two family members, were able to see it. The family members were given some time afterwards to meet and socialise with the cast. “It was worth all the hard work and effort,” says Maggie, “to see the importance of this for both family members and students."
One member of the cast said, "I got the chance to experience myself in a different way … and it has been one of my most positive experiences and one that I will never forget".

A Whistle in the Dark

In 2009, Helen Hunt, brought to the stage her adaptation of Tom Murphy’s play, A Whistle in the Dark. This was premiered in 1961 at Stratford East Theatre in London. It tells the story of the climactic confrontation between Michael, the oldest of the Carney sons, and his father and brothers, a brawling, hard-drinking, criminal gang of Irish immigrants living and working in Coventry.
“It is,” says Helen, “as pertinent to the Ireland of to-day as it was to the Ireland of the fifties and sixties – perhaps more so.” Helen adds, “Through the shared creative endeavour of bringing this play into being, perhaps those involved were able to discover a different way of feeling truly alive.”
Niall, who played the part of Michael, had this to say: “Michael reminds me of myself – what I could have been. I think there is a bit of Michael in me still. His frustration comes from the feeling of being trapped – unable to break away and to change his situation. Drama has given me the chance to leave prison and to break away… just for a short while.”
The play was performed over four days. The final performance on May 1st was in front of an invited audience. One hundred and thirty prisoners watched the play and their absolute attentiveness during its one and a half hour playing time, was a tribute to the quality of the acting and production, as much as to the relevance of the issues raised in the play itself.