Kieran’s Our City, Our Town Article,

Cork Independent, 9 August 2012

The Sound of Heritage

I’m a firm believer in the power of place. That wherever, you stand, there are multiple stories around you, waiting to be excavated. Over the next couple of weeks, there are numerous heritage events on that testify to this claim. Heritage Open Day (Saturday 18 August) sees over 40 buildings open to the public with a number of tours and lectures. Heritage week (18-25 August) offers a week long celebration on all things historical in Cork.

Both events above offer perspectives on this city’s very rich history, much of which remains fully unexplored by writers and scholars of Cork’s past plus there are the multiple meanings and connections associated with these histories. The histories can present a narrative that makes one stop to listen and reflect on how the story is remembered and recounted, and fills the mind with curiosity and imagination.

Two of the city’s theatres are also presenting two shows, whose plots in part comment on the power of imagination, and on the power of identity and the role of the individuals in the making of that, The Sound of Music and Guerilla Days in Ireland, respectively. With The Sound of Music, I’m lucky to play a part in the musical. Indeed, standing in the dimly lit wings of Cork Opera House, waiting to walk on stage is the start of a leap of faith. The actor’s fourth wall or the auditorium of the Opera House is an abyss of darkness. Being part of a globally well known musical with a talented Cork cast and to thread the boards of the city’s great theatre is a source of pride for any performer.

The Sound of Music has its key characters but is also a huge ensemble piece. A call is set for all of us to come in every night to warm up. In the corridors of the dressing room, a routine plays out every evening; the building becomes full of life, the warming up of voices, people singing scales, costume checks, chats and conversations, nervous anxiousness awaiting the curtain up, the news of the day, the continuous viewing of the multiple pictures the regular time countdowns by Abbie, the stage manager, notes from the director Bryan, the personal successes and failure of the day are recounted. The lights and sets behind the curtain are double checked. A believable place for the audience is made out a blank dark canvas, the stage. The musical is brought to life through a combination of aspects, and through musicality and acting. The human creative side all combine amongst others to create a strong sense of place on the dark stage. In that perhaps is a message in itself that as we rush around for one building to other on heritage open day perhaps it is apt to reflect on how buildings are enlivened through their design, construction and routine functionality by people.

The Sound of Music is a family favourite; something rooted in global popular culture- a piece of culture passed down from generation to generation since it first outing on Broadway in 1959. One has either have either encountered it on stage or on film. It is the personal story of Maria Rainer’s encounters with the Von Trapp family and the subsequent happy ever after, told through the lens of the Nazi occupation of Austria 1938. It is a musical commentary by Richard Rodgers and Oscar Hammerstein in post World War II America; they were giants of the musical theatre world and in The Sound of Music present a myriad of themes from questions of life and pushing oneself forward to the contrast of the politics of occupation of Germany over Austria. With a multitude of songs, Edelweiss one of act two’s last songs is the character’s Georg Von Trapp’s take on nationhood in Austria.

Over at the Everyman Palace, the story of Tom Barry’s life and times and his role in the evolving nationhood of Ireland are re-enacted. Aspects of Tom’s autobiography, Guerrilla Days in Ireland are acted out and the key threads of Tom’s journey in Ireland’s turbulent War of Independence is passed down and played out on the Everyman Palace’s dark stage. Again, played by a talented cast, they lead the audience through a montage of reconstructed images in Tom’s life, from his life in the British army, through leading brigades, through to his connections with national characters such as Michael Collins and Eamonn DeValera. Tom had a role like many others in a rapidly changing Ireland, one moving towards Independence and part of the fight for Irish identity and nationhood.

Both the Sound of Music and Guerilla Days of Ireland, have that common theme of the importance of identity running through them. Those themes also run through the stories of the buildings opened for heritage open day. Another example is City Hall, which I conduct a tour of in the morning of heritage open day. Mired in politics, civicness, the building presents a lens to study the who and multiple layers of how the city’s own sense of place developed. See Cork Heritage Open Day.ie or my own facebook page, Cork Our City, Our Town for further details.

To be continued….

Caption:

653a. Maria (Carol Anne Ryan) and the Von Trapp Children, The Sound of Music, Cork Opera House, August 2012 (picture: Kieran McCarthy)

http://www.youtube.com/watch?feature=player_embedded&v=-EMhWOvBsG0