Madam, - I refer to Fintan O'Toole's article of April 3rd ("Wrestling for O'Casey's legacy") in which I was offered the opportunity to reply to some of the issues raised by the theatre director Garry Hynes. Within his finished article, Mr O'Toole excluded my provided response to two significant issues - Garry Hynes's implicit criticism of the role of the Abbey Theatre in operating in a monopoly, and the funding of the theatre.
The Abbey Theatre is increasingly more alert and responsive to its national theatre responsibility of developing the theatre arts in Ireland and for many years the Gate Theatre, Druid, Rough Magic, The Passion Machine, Red Kettle and Fishamble (and many more) filled that gap. We need to work in association with the artists of these Irish theatre companies to make a collective effort for Irish theatre to become a world-class cultural and philosophical movement.
The theatre community is a delicate eco-system and, in an Ireland of the 21st century, there exists a much different cultural environment in comparison to when Druid emerged in the 1970s. The Abbey Theatre is now dependent on a healthy, vigorous and vital independent theatre community in order for Irish theatre-making to flourish. This is not a description of a monopoly. Furthermore, as I am sure all my colleagues agree, none of us have a monopoly on good ideas, relationship with writers or great art.
To answer why or how the Abbey is funded, a question needs to be asked: Who prefers a weakened Abbey Theatre which doesn't provide leadership or a national vision? The Abbey is Ireland's National Theatre and continues to hold a national conversation about Irish culture and society. That is what is unique about it.
It has made a promise to Irish citizens to present world-class theatre and to ensure that the debate on the state of Irish and global society is ongoing and accessible. We provide time and space to Irish and international artists to attempt to make sense of this world through many ways - 12 annual productions across our two stages, the Abbey Studio, the full-time literary department and through our public talks programme (see www.abbeytheatre.ie).
The Irish theatre community, including the Abbey Theatre, has to work together to request increased funding of theatre throughout Ireland. Between us all we have the passion, vision and voice to support our Minister for Arts in lobbying Government. This, in turn will benefit the citizen and the artist.
Ar scáth a chéile a mhairimid. - Yours, etc,
FIACH MAC CONGHAIL, Director, Abbey Theatre, Lower Abbey Street, Dublin 1.
Madam, - Once again Edward Pakenham, 6th Earl of Longford, has been ignored in writings about the Gate Theatre. I refer to Christopher Fitz-simon's letter of April 7th and Fintan O'Toole's article of April 3rd.
The Gate received very substantial funding out of the pockets of Lord Longford from 1931 until his untimely death in 1961. He was both producer and patron. Lord and Lady Longford are seldom if ever mentioned in Gate Theatre circles today and never in the programme notes. Yet he spent a fortune on the theatre and kept a company in full time employment. He went through many months of trauma with the fire servcie declared the Gate would have to close. He fought tooth and nail and complied with all its fire regulations to keep the theatre open.
In 1956, Dublin City Council condemned the bulding. This time the cost of complying with the safety by-laws was £31,000. The target was achieved entirely through Lord Longford's efforts and largely at his own expense. The work included that enormous stone flight of steps at the back of the theatre which, when completed, was hardly ever used. He went to court to plead his case for the Gate.
Some of the most famous Irish and English producers and players of the 1930s, 1940s and 1950s owe their opportunities to the late Earl of Longford. I regret that that £30,000, given by C.J. Haughey when Minister for Finance in recognition of the work of Hilton Edwards and Michael MacLiammóir, was not given in the name of the Gate Theatre's only real patron.
Would we have the Gate Theatre today were it not for him? - Yours, etc,
URSULA HOUGH-GORMLEY, Ormond Road, Rathmines, Dublin 6.