 Broadcasting throughout the Northwest and across the world online, Jean Cohen on Highland Radio. And you're very welcome back. Just before the break, we had a song by Donovan, as I said, Universal Soldier. And the lines, he's the one who gives his body as a weapon of the war can certainly be used in reference to the soldiers who went over the top at the Battle of the Somme in July 1916, described by one historian as lions led by donkeys. More than one million were killed or wounded in the battle, and among those who fought were the Ulster 36th Division, who lost over 2,000 men on the very first day alone. A large number of men from that division was made of the Ulster Volunteer Force that was formed in 1913 by Edward Carson to stop, by force if necessary, the impending home rule for Ireland. Frank McGinnis's play Observe the Sons of Ulster Marching Towards the Somme focuses on this episode in history, and we are about to hear much more about it from our guests tonight. The play will be on tour shortly and is an ambitious cross-border project spearheaded by Aracling Godore and the Waterside Theatre in Derry, Stoke, London Derry, and funded by the International Fund for Ireland. Joining me tonight are Bride A.K.A. Olmigalore Rija from Aracling Godore, Stephen Barrett from the IFI, International Fund for Ireland, Andrew McNulty from the Waterside Theatre and producer of the play, and Patrick Quinn, local born and read, and a professional actor now. Folks, you are very welcome indeed, and many thanks for taking time out tonight. Thank you, Jane. Thank you, Jane. So, Owen, this is a very ambitious project. It's a joint venture between yourselves in Aracling Godore and the Waterside Theatre in Derry. So, how did it all come about? Well, basically, we met up for a cup of tea and had a chat. You know, there was Andrew and Stephen and Paul McCool, who's the chairman down on the board in Godore and myself, and we discussed the project and we all thought it was viable and very cross-border, like a Girl Fact Area, steeped in republicanism, basically, and to go and work with a loyalist community or a Presbyterian Protestant, whatever type of community, down at home. We would not be totally ignorant of these facts, but we were brought up with an outlook, and it's nice to hear somebody else's point of view, and it's a piece, part of the peace process as well, I would say, and we just, we all thought it was a good idea. And it was kind of challenging in those perspectives, wasn't it, Owen? Yeah, it is, and bringing those perspectives together, which was lovely. It was really nice, and as you say, because it was over a cup of tea, and we did have those informal conversations, it was very organic, the way it actually all came about, and Owen turned the key to unlock the project as far as we were concerned, to go into Godore, to link up with Godore, and partner with Godore. I don't know, Stephen, how you feel about it, Owen? Definitely, I mean, in the National Fund for Ireland, first and foremost, rather than just a grand funder, I come from a community background, I've been doing development work within Donegal for the best part of the last 20 years, and the opportunity really to link up a theatre that has history didn't back to 1932, to the Godore Actors Association in Godore, and a theatre within the water side. Around the project, this really started like every good community project, as Owen said, over a cup of tea. That's how people come together. Sometimes you sit down in the most natural way, you sit around the table and you just try and come up with an idea, and this is actually funded by the International Fund for Ireland. It's one of our new flagship projects under the Communities and Partnership Programme, and I'm sure we'll explore that during the course of the interview. And has it been in the planning for a long time, Owen? Yeah, it's March 19... 2022. Long time. Yeah, really, I've lost track of time. Yeah, 2022, and it's just process, bit by bit by bit we got there, you know, and thanks to Stephen's hard work, and then Andrew's hard work that really all came together, you know. And why this play Andrew, did you decide on the play before you went for the funding or sort of how did you come up with, I'm serious, the sons? So it is just that, as I was saying earlier, it's that organic process where when you get a collective together and a collective of creatives, and Stephen always lays it out that he's not a creative himself, but I challenge him and say he's probably one of the most creative in bringing this project together because we have four huge elements within the project, and we'll talk about those probably in a wee while, but the play itself, it was important that there was a theme running right the way through all of the work that we were doing, and it was important that it was about building capacity within the art scene in the Northwest, and that includes in Derry and Donegal, all of those, because traditionally we have a great youth theatre scene, but once you get out of youth theatre for actors who are cutting their teeth in the business or actors who would like to return home but don't get the opportunity, this was providing opportunity, and Patrick's a prime example of being a professional, going away, getting trained, and the ability to come home to your own county and develop that work, and I think the really interesting thing in choosing the play as well was that it's a word-renowned piece of theatre. Frank McGinnis is known far and wide as an excellent writer, and the fact he was a Donegal man, as this project is Donegal and Derry, writing about something that's very personal to the Protestant community in Northern Ireland, specifically under the 36th Austro-Division, it was that perspective that he had that we wanted to carry through the project, and it was such a good fit, such good writing, and it provided the opportunity for that learning and capacity-building within the art scene that we wanted. And I suppose, as you say, Frank McGinnis was from Moncrana, and it was completely out of his experience to write about the Austro-Unionist psyche and how much they resisted home rule, and fighting in the Somme was nearly a re-enaction of the Battle of the Boine for them. Yep, and everybody was there going, how is he going to understand? But he was so adept at not making it necessarily about the battle, but about the people, and he was very personal in that sense, and so on. Which, another thing, he portrays the different status within even Unionism or Loyalism, and the boys from Calerain, the farmers. There's the shipbuilders from Delfast, totally different, about to hit the living daylights out of each other, but they unite as one to want a battle, you know, and how it made a band of brothers. Under that one identity. With that identity. And you yourself, you went to Messine and to Ypres and to the Somme, and whenever you actually visited those places, did it give you a better understanding of what the play was actually about, or what these Ulster men went through very much? Very much so. It wasn't even a better understanding of the play, it was a better understanding of history, a better understanding of the First World War, a better understanding of not only this is about the 36th Ulster Division, Frank Carson's men basically, but there were the odd Catholic amongst them as well, but there were a lot of Irish men who went out there to fight for home rule, which they thought at that time they would get if they fought on behalf of the English, or there were other people who went out because they realised that the Germans were on. There was a lot of Irish people who went out there for various reasons, but we never celebrated them or never acknowledged them because of what had happened in our history at that time. For example, there was a man from Ghidor, I believe his name was Duff, he was born in, could it be McGinley, I could be wrong, but he was born in Ghidor, he'd moved to Lerarkinney, he went, fought in the First World War, he got the Victoria Cross, nobody knew about it until after he died, which was a shame. Yeah, and that's the sad thing because the time of the war, as opposed to the Unionist thought as a stab on the back for England when the 1916 rising in the middle of it, and a lot of Irish men went off to fight there for they thought that England would look favourably and give them home. The Austrian men went to make sure that England didn't give Ireland home. I taught history for over 34 years. I always found this a fascinating time in Irish history between 1910, 1912 and 1922 because so much changed. You had the lock-out, you had the Irish volunteers, the Ulster volunteers, the rising, the War of Independence, the Civil War, and just as everything had just changed so much in the space of those 10 years. Yeah, and within that, that these men were forgotten about, which is a shame. And when you actually, I advise people to go to see the psalm missing, you think of this vast, vast big world war, this was in a couple of fields where thousands were killed and it's when you actually stand there and you're looking at the trenches, you get the real feel of it and it was very moving at times as well. And like John Redmond's brother was killed as well. We got to see his grave. We got to see Willie McBride's grave, believe it or not there was. A lot of people think it's a fictional character. The character, there was an actual Willie McBride and I tried to sing it. It's very good, but it's certainly something people should look into and learn more about and to celebrate these men, to acknowledge these men who died in the psalm for what they believed was right. I can just, your passion for the project is just palpable here in the studio and yours as well, Andrew. So I can sense that it wasn't hard to convince you, Stephen, to fund this project. Absolutely not. So just to give you a little bit of background to the International Fund for Ireland, it would have been set up jointly by the Irish and the British governments actually following the signing of the Anglo-Irish Agreement in 1985. So it's actually the International Fund set up for 37 years tomorrow on the 18th of September, so it's a landmark for us. And working with both theaters for myself, it was a very, very easy project to see the connections, I suppose, in terms of the shared history, the understanding and impact, I guess, of war on people and communities. Within Counted on a Goal, there's a huge hidden history. Over 1200 people went off and they fought. They died. They didn't make it home from the Somme or from Mazine in the different battles. So that shared history is really, that thread runs throughout the project in addition to the Somme. In terms of people, there were Unionists and Nationalists who fought side-by-side during World War I. We visited, we visited Mazine Ridge. And believe it or not, the Nationalists soldiers left Barracks at Celtic Park and the Unionists soldiers left Barracks at Schenkel Road. And they both came together for the first time as part of World War I at the Battle of Mazine. So we visited that site and that was part of the shared history. One of the themes that runs through the project and throughout is that of respect. And it's really a bit of respect for people from different traditions, people of different language heritage and language culture. And we understand in Donegal how important our culture and our language heritage is to us. And it's also a bit of respect for our members. And that remembrance, the theme of remembrance cuts across both traditions. And that's why we would have got involved in the project through the International Fund for Ireland. Now, just to let you know how it's funded, it's funded under a new funding programme that we have called the Communities and Partnership programme. And one of the things that you'll find about working, hopefully with myself and the International Fund for Ireland is that we don't overcomplicate things for community groups and organisations that want to access funding. Community work is challenging enough. There's governance, accountability, even writing funding applications can be a challenge. So, we don't overcomplicate things. There's two themes within the Communities and Partnership programme. And every project that we fund and every project that we support is built around those two core themes. Firstly, it's that a project benefits a community area north and south. And secondly, quite simply, that the project builds genuine and meaningful connections between people from different backgrounds, cultures and traditions. And absolutely, we think that this project does that and it does it in abundance. Just to let you know as well that one of the themes within the Communities and Partnership programme, and I think this absolutely is a shining example in terms of a project, one of the themes that we have in it is about using culture and the arts to create the opportunity for people to come together to deepen their understanding of the past and also for the opportunity to have a conversation about the future and the future direction of travel. So we're at a point in time at the moment where we've marked a significant landmark this year. It's 25 years since the signing of the Belfast Agreement, the Good Friday Agreement. And it's a very important time in our social history, our shared social history. And we would see that this project it's going to be a Belfast, it's going to be in the letter Kinney, it's going to be in the Millennium Forum. We would see that that gives us the opportunity through the project to open up a conversation about that shared history. And that is, as I say, why we're involved in the project and the International Fund for Ireland, just to say, is delighted to be involved in the project. And I suppose, as you say, it meets all the criteria. It's cross-border. It's to foster respect and an understanding of each other's history. So is it all the boxes are ticked there, Stephen? That's it, absolutely. And just to let you know as well, in terms of the community work that we do, the design and the development of a project and its funding requirements, I'm the kind of person that actually gets involved and gets in with the trenches with the community group and what they're doing. I would hope that that's an accurate reflection. So I did that, so I would have travelled as well with the group. I travelled to France and Belgium and I visited the battlefields in the different sites and exploring that aspect of her shared history was fantastic. How important is the funding Andrew for a project like this? It's massively important and it's not just the money aspect, it's Stephen touching it there. It's the partnership approach that you have to it. It's a collaborative approach. It's a word that's probably overused at the minute, but it is that co-design. It's where you all meet with a blank sheet and that's basically what we did at the very beginning. And we used the metaphor cup of tea. It's more metaphor than the actual physical, although we did have a cup of tea as well. But it is your coffee. So, but it is that. It's where you start off with a blank sheet of paper and you have a partner in your funder and so far as they go, yes, I will get in the trenches with you. Yes, I will work with you on this. Yes, I will tell you what we can and cannot do. Yes, I will be upfront with you. I'll be honest with you. So it's as much about the type of funding that you get and the type of partnership that you create with the funder as the monetary value, which the monetary value is essential in this because you can bring a quality of a project through on that then, Gene. There's a lot more involved in the project as well. There's a couple of strands to this project. The first part was the trip to Bausman machine to understand and I learnt a lot from that. By the way, like to Nigel Karn, who did the tour. His knowledge was superb. And then, well, we have the play. And then you have the OCN, Open College Network. There's the... Sorry. The creative writing. We're going to have a workshop on creative writing between both communities. And, well, as I said, the play. So there's the four strands. Yeah, it's a comprehensive project. Really, really is. Stephen, you were going to say something there. One of the things that I wanted to say when we did travel, both theaters organised a cross-community remembrance event. That was to commemorate, actually, the opening of the 25th anniversary of the opening of the island of Ireland, Peace Park in Mazzine. And if you ever get the opportunity to visit, you'll see it's 32 metres tall. It's a striking symbol when you see it off in the distance. 32 metres, really, because of the 32 counties in Ireland. And it's a memorial, really, to the people of Ireland, north and south. It's a symbol of peace and reconciliation as its own right. That peace park, it was actually built by a journey of reconciliation trust. And that was led by two great peacemakers in their own right. And I'd just like to acknowledge them here tonight. They led Paddy Hart Senior from Danygall. And they led Glen Barre for us. It was an honour, really, to visit the Peace Park, to organise a cross-community event at the Peace Park. And I had the opportunity to lay a wreath in memory of the people that were involved in the development of the park, which I was delighted with. It was an honour to be there. I'm going to bring you and Patrick, because I'm just looking at the clock here and running out of time before we actually get to the play. Say it, Patrick. Of course, Frank McGinnis' masterpiece is, I see it like as if there's three layers to it. The top layer, it's about eight ordinary men who join together to go to war for their country, for what they believed in for each other, for home. But then, underneath it, what the play is questioning is conflict. It's looking at inner conflict of oneself, the conflict of others and what you believe. There's also a huge amount of tradition there. You've also got sexual politics there as well. It's really interesting, because the play is created in a vacuum of women. So, there are no females in the play but their absence is really felt and how men they try their best to fill that gap for each other. We see elements of faith there, sacrifice and, of course, tradition. What I really believe the play is about love plays about love of each other love of home, love of Ulster and it really is it's been the most incredible journey across the past couple of months since I was asked to be in it too, to now as we're on the cusp of performing it now, later this week. And you're playing the young Piper how do you find that character? Oh my God, he's the best ever he's so complex it's been it's actually been so good to get my teeth into him what I would describe him as is almost an Oscar wild type, he is an aristocrat a real like he's a real outsider in this group because all the rest of them of the men are working class men and here is this landed gentry but in a way he binds them together maybe because he creates an opposition against them but he's so much fun people think especially with the title observe the sons of Ulster marching towards the son that this must be an incredibly heavy sad piece but I'm sure everybody can associate with this but in the hardest and most difficult of times it's actually where there's a lot of humour I find the play very funny my character is just like absolute lord of destruction and mischief like almost like Loki or something from the marvels and although yes we're dealing with very heavy topics there's so many laughs and there's so much joy in it and it's been incredible to be part of and did you have much knowledge of this period in history before you went into rehearsals Patrick well my great-grandfather Joe Riley was part of oh a royal Irish fuseliers and he died in Eep so that is on my mother's side so I had heard stuff growing up but honestly not as much as I would have wanted now you've had incredible films over the past few years come out 1917 all quiet on the western front war horse a couple of years ago that give you an idea of it but I've learned an incredible amount more than you could ever imagine like you learn it in history but it's only text it's only words it's when you see it's live whenever you're kind of living it you get a sense of what these people went through and have you learned more now about the Ulster Unionist psyche from this yes I have so it's been really interesting I've lived in Belfast for a couple of years so coming from Glen Swally it's very important I'm from Glen Swally not letter can I almost say but I but I going up to but going up to Belfast it was I started into a new kind of tradition new worlds but through this play I've learned a lot about the Protestant psyche and even the loyalist psyche sometimes people from the outside they look at them and they tire them with being stuck or being frightened but what I found is that they're actually very tolerant people they're very loyal we always I say we sometimes nationalists those from the south look at them as being so loyal to their cause but actually what they are is loyal to each other they're loyal to their families loyal to their beliefs but it's the relationships they're most loyal to and you can see it they are they're very tolerant people which is a really interesting counter narrative to the narrative that is so often spun fantastic and Andrew just to finish off we're looking at school performance there's matinees panel discussions and there's actually even an exhibition in the museum as well as part of this project yep that's what we were talking about it being such a larger project and I think an important element of the play as well if I may just indulge a wee second is our director David Grant he's an absolute diamond and he has understood this project from day one he's been able to collaborate with us on the project and there's a mentorship element that goes within it as well so after the shows we're going to panel discussions we're going to be able to look at the themes that are represented within the play we're partnering up with Donegal County Museum and we're going to have an exhibition space just below the door in each one as well and we're opening it out to schools as well and we will be travelling the length of breath now in the next week or so to get those dates in as well do you want me to give them Jean or do you want me to yes yes yes yes yeah yeah so we're going to be in Auckland and Goodor we're kicking off that's going to be our whole show with our partner here with Armour and Owen that's how good a partnership it is and an evening performance on Thursday the 21st then we're moving to the lyric main stage September 22nd for an evening 23rd for matinee and evening then we're coming back to letter Kenny on the 24th of September evening performance 25th matinee and then we're finishing off in Derry the other partner organisation and that'll be in the Millennium Forum on the 27th we'll have a matinee and an evening and as I say there's panel discussions after that and it's a great opportunity to engage with the text too as well and if you could just indulge me for one second I'll just be brief I was privileged to sit in at some of the rehearsals and if they were only at rehearsal stage I expect the play to be really really good the talent of the cast brilliant the crew fantastic David is a genius even if you're not interested in the subject matter if you're interested in drama go and see this play this Thursday the door and it get to us on Sunday night in the angri and tickets are flying out the door for both so like honestly get online get those booked well I'm hoping to catch you at some stage maybe next Sunday night if not that certainly in the Millennium I'm so so looking forward to it Steven and Owen and Andrew and Patrick thank you so much for taking time out tonight and every success with your adventure thank you so much air online and on the Highland Radio app this is Highland Radio News it's 8 o'clock good evening a man in his 30s has been charged after a gun seizure in County Clare ammunition was also recovered in Shannon he is due to appear before a special sitting of NS District Court at half 8 tonight Gar thee in Cork City investigating the disappearance of a 47 year old man maintained the case is still being treated as a missing persons case Kieran Quilligan was last seen with another man in St Finbar's place close to St Finbar's Cathedral at around half 9 on the 1st of September investigating Gar thee held a press conference at the spot where he was last seen this afternoon Detective Superintendent Michael Cummins confirmed they have spoken to the man who was seen with Kieran and says an extensive search is ongoing there are various reasons and people just want to get away from whatever is currently going on in their life so firstly we're appealing to Kieran and after that we're appealing to anyone else who has any information in relation to us to contact us we have been able to track Kieran on CCTV and talk and witness as far as here he doesn't leave this area here we're very sure the government has been accused of failing on targets to reduce the use of fossil fuels Deputy Batik says delays in reaching targets such as for retrofitting homes have been damaging in the effort to reduce dependency on fossil fuels Deputy Batik has made the comments while attending a protest by friends of the earth at Baliment Strand and Dublin this afternoon as part of a global day of action to urge world governments to do more to prevent climate change she says more needs to be done and several proposed measures are yet to be put in place we want to attack on SUVs on gas guzzling SUVs on bicycle infrastructure