2001 was a great year for acting, if not for new plays. With much hand-wringing, the judges of the fifth Irish Times/ESB Theatre Awards compiled this year's shortlists. Patsy McGarry reports
It wasn't a great year for new Irish plays. In fact 2001 wasn't even a good year, the judges of The Irish Times/ESB Theatre Awards agreed. "Every year can't be a vintage year and I don't think this was one. So disappointing," says Fergus Linehan. "That was the year that was in it," says Karen Fricker. "It seems to have been a consolidating year for the independent sector," suggests Fiach Mac Conghail. Not a very good year for small-town theatres or "soft summer nights", to be frank.
"Perhaps the golden age [in Irish theatre] is pausing for breath," suggests Linehan.
Perhaps, perhaps, perhaps.
But it was a very good year for excellent productions of established "big" plays in city productions - and a great year for actors.
"The best actors in the world, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, scene individable, or poem unlimited," would accurately summarise the judges' views, echoing those of poor old Polonius.
"It was a terrific year for actors and it was agonisingly hard to cut down the shortlist. I really felt awful some were not nominated. The standard of acting here is really amazing, especially among the young actors, God love them. Where are they going to get the work?" says Linehan.
"Sixteen could have made the shortlist [of four]," says Fricker, "so we left that decision to last." It became a reign of pain. "I wished we could have nominated eight or nine. These were truly exceptional performances." And she was "still sore" following the final decisions. They came down to a vote in some cases, she acknowledged hand-wringingly.
"We have such a great bunch of actors, technicians, and craftspeople in Irish theatre. Really world-class," agrees Mac Conghail.
"Passion prevailed," he says, following "passionate discussion" among the judges, and suggesting that there may even have been some neck-wringing involved also in the final shakedown.Who would want to be a judge?
Well, Fricker for one. She continues in the role this year, despite (or because) she saw approximately 120 performances during 2001. So too did the other two judges, but neither Mac Conghail nor Linehan are continuing in the role because of (or despite) what they saw last year. Both have other projects lined up for 2002.
Mac Conghail says the commitment involved in judging the awards was huge. "You can't be half-hearted about it. It would be unfair if you were. It was a wonderful honour," he says, but confesses that "naivete about the commitment involved saw me through".
But he is glad he did it. The experience has confirmed for him the importance of awards in Irish theatre, especially the nominations, which he feels are far more important than the awards themselves.
Fricker finds her role as a judge complementary to her role as critic (for the Guardian and Variety) and as editor of Irish Theatre magazine. And "I like it", she says, offering the most plausible reason of all.
Linehan, seasoned after two years as a judge, says that it was "a super job". But he has some writing to do this year - and that will not allow for the joy of travelling the length and breadth of the island to view an average two or three shows a week, courtesy of The Irish Times and the ESB.
For Mac Conghail, the experience was unique in another way. It was the first time since he became involved in theatre that there was "no conflict, no involvement" which would prevent him from assessing other work in the theatre without an agenda or "having to be biased". The experience confirmed his conviction that the most beleagured creature, the critic, serves "a very important role in the [theatrical] process".
The judges employed their own modus operandi in approaching their task, which involved all new productions, including 17 operas. Opera features as a category for the first time in the 2001 awards.
They avoided opening nights and preferred to see performances separately and in their theatres of origin. Each of them attended nearly all the productions, and all saw those nominated.
They were in constant contact with one another, either by phone, or, particularly where Karen and Fiach were concerned, by text. In this way they alerted each other to "must-see" productions.
During the year, they met four times; preparing a long shortlist, eliminating and adding as the year progressed. The final shortlists were decided just after New Year. They also decided not to nominate for the Best Company award this year, feeling that the annual ding-dong between the Abbey and the Gate in this category was becoming an embarrassment and discredited the awards overall. "We were not dealing with a level playing pitch," says Mac Conghail, referring to the superior resources of the two capital companies.
They also suggest that the title of another category should be changed. This arises because, they say, in so many productions nowadays, it was so difficult to decide who was a lead and/or a supporting actor. They propose, instead, that this category could become "Best Featured Actor". This American-inspired title will not, however, apply this year; supporting actors and actresses will have their day - at least one more time.