GCN
GCN


4 MIN READ TIME

ONCE MORE WITH FEELING

Photos by Agata Stoinska.

“It’s a gay odyssey,” says Selina Cartmell, Director of both the Gate Theatre and its latest production, Once Before I Go. Written by Philly McMahon, perhaps best-known as co-creator of the sensational RIOT!, the play marks the reopening of the Gate 18 months after going dark.

We meet in early September, after a day of rehearsals for the cast and creative team. Masks are visible, distance maintained, but there’s a buzz in the air. “Opening the theatre is hugely emotional,” says Selina. “To have audiences cross the threshold of the Gate’s space again, to open to an audience who are going to sit — in a very socially distanced way — and experience and watch something together as a community is pretty exciting.”

Once Before I Go had been in the works before the Gate was forced to close its doors. Commissioned in 2019, the play has finally found a suitable place in the Gate’s programme as it welcomes audiences back. “It’s the biggest joyous, love bomb of a play that’s about love persevering, and survival against all odds,” says Selina. “That’s something that I felt was really relevant now as well coming back out into the world. It felt like the right thing to be opening the Gate with.”

The play spans almost 40 years of queer life across Dublin, London, and Paris, opening with friends Lynn and Daithí meeting after 25 years. “When we meet them, there’s beef,” tells Philly. “We are in the territory where things have got to be investigated and unravelled. And so we go time traveling in some senses, and look back on their lives and the friendships that they had over 30 years. The play is fundamentally about that friendship, and we start peeling away layers of them.

“It’s a celebration of queer community, it’s a celebration of queer family: the idea that, more than other tribes, we create our families because often we have run from our own families. These people in this play have built their own family and so it’s a gorgeous celebration of that, plus the messiness of who we are.”

Much has happened over the span that the play encompasses, and Once Before I Go doesn’t shy away from the incredible change that has taken place in Irish society. “I was interested to look at how the Irish gay civil rights movement, the magic and energy of that and all those gorgeous stories that I have been told, how all of that built towards marriage equality,” explains Philly. “And then I was interested in post-marriage equality. We’ve been talking about Irish society thinking ‘right, marriage equality, the gays are fixed,’ but actually there’s a lot of unresolved trauma. The play, which is a dry comedy in some senses, is looking to pull the plaster off that trauma and look at what’s under there and what are the current concerns. So, you know, we’re looking at addiction in gay men, and we’re looking at Trans issues, and we’re looking at where this community, this family, is now. And using the AIDS crisis and the gay civil rights movement as a kickoff for all of that. With jokes!”

With so much to cover, I ask Selina about the research involved in putting on such an ambitious production. “I think that for a lot of people, myself included, after 18 months you’re stretching muscles you haven’t stretched in a long time, and so there’s a fear to that; a fear of coming back and what that’s going to be like, a fear of touch, a fear of wearing masks, and proximity, and getting tested, there’s a whole different ritual that comes with this,” she explains. “I’m lucky enough to be collaborating with a great design team, so everyone goes off and does their own research. In many ways, the challenge of the Gate is that we have no big wings, or big flies or traps or anything like that. What [set designer] Francis O’Connor has created, which I think is a marvel, is these three different periods across 40 years with a really bold, expressionistic time machine, in a way that can accommodate where we can go to from Dublin to Paris to London, from 1987 to present day. I think that gesture unlocked a lot of ideas for the show and how to tell that through costume and in other ways. It’s very bold, audaciously bold!”

Philly must have had to do a lot of research too, to cover such an expanse? “I’ve lived my life, active research: The George, Pantibar, Front Lounge!” he laughs. “I did a show with Tonie Walsh, in 2018, called I Am Tonie Walsh. We were wondering how were we going to make that show, and I decided that we were going to go into a room for two weeks, and I would just record the whole thing. He told me his life story, and told me a few other people’s life stories as well. And I was just like, holy shit, there are all of these stories that in some ways are oral histories, and there’s new information or a new angle every time. So I was trying some ways to grab some of those stories, those moments, even just the atmosphere to try to represent the vividness of queer community and queer family. This show owes Tonie a lot, and it is dedicated to Tonie. And along with that, a lot of storytelling from friends, and trawling, trawling, that World Wide Web.”

This article appears in the 368 Issue of GCN

Click here to view the article in the magazine.
To view other articles in this issue Click here.
If you would like to view other issues of GCN, you can see the full archive here.

COPIED
This article appears in the 368 Issue of GCN