I had the opportunity to see Th McGowan Trilogy and review it on Blogcritics as an offering of The Origin Company’s 1st Irish Theater Festival 2014. Since then I have been in touch with Seamus Scanlon on social media and have kept up with his activities from time to time during posts. Finally, I caught up with him during the COVID-19 pandemic when we both had the time for me to interview him online via email.
Seamus, give the readers a bit of backstory about yourself.
My background is in science so I am a late convert to the arts. I am a first generation college goer in my family so gainful employment was the priority not frivolity (i.e. the creative arts). Science did appeal to me because it was definitive; equations and formulae were a great attraction for me. Also, my hand writing is appalling. I can’t even read it myself. I knew I would never be able to write papers or complete an analysis in college that a teacher could decipher.
Despite this, I recall playing a recording of Dylan Thomas reading Do Not Go Gentle Into That Night and I was immediately affected by it although I did not let on because our school was an artistic black hole. (In 2018, the Japanese production of The McGowan Trilogy played this recording during the performance which was an amazing surprise for me. I felt I had come full circle!) In English class we also read the poetry of Patrick Kavanagh – a self taught genius raised in poverty in rural County Monaghan. This poetry stirred me and remained with me despite my selection of science to pursue for a career
My hometown of Galway is an artistic epicenter with the Tony Award winning Druid Theater Company; the Galway International Arts Festival and The Cúirt International Festival of Literature. Nora Barnacle (James Joyce’s wife) was born there and Lady Gregory (Yeats’ mentor and co-founder of the Abbey Theater in Dublin) lived about 15 miles from Galway, Ireland. Galway county was the backdrop for Synge and Martin McDonagh. So there was no excuse for me not to be enamored of literature, but I just ignored it all. I was too timid to explore it.
How long did you work on the McGowan Trilogy?
Not very long. It was kick started by Nancy Manocherian’s Cell Theater Company Ltd (artistic director Kira Simring) who read a short play of mine Dancing at Lunacy and then staged it as part of the The Irish Cell event in March 2012. They then asked for a full play so I developed two other inter related one acts – The Long Wet Grass and Boys Swam Before Me. They were great to work with – two Jewish women interested in all things Irish. This was staged in Oct 2014 as part of the 1st Irish Theater Festival and was well received. The play was also published by Arlen House. Get a free digital copy here.
What experiences helped you frame the story?
I lived in Belfast for five years so I was exposed to the daily life of Army patrols, constantly hovering Army helicopters, riots, shootings, July 12th marches where the deep seated tribal differences are in full flow. Before living in Belfast I had been affected greatly by the Hunger Strike in Belfast where 7 IRA and 3 INLA political prisoners died. Hunger strikes in Ireland have a long tradition. They are doubly significant and symbolic in Ireland because of the Great Famine (1847) which killed 1.5 million and caused forced emigration of 1.5 million to the US. A therapist in Belfast treating ex gunmen (late teens and early twenties) who had killed for the ‘cause’ and were suffering major trauma after killing someone.
Where has it been produced since it premiered in the US?
After The Cell production in 2014, they brought it to Hastings (UK) to the Kino-Teatr owned by a devoted Russian Hibernophile, Olga Manonova. The same Summer it was staged in two venues in Galway, and in Westport’s Townhall.
The major surprise for me came in 2018. The McGowan Trilogy (in Japanese) play was staged in Japan (in Japanese) to full houses (the lead was a rising movie star so that helped!). I traveled to Tokyo to see it and it was an amazing experience. They were selling merchandise in the foyer so I felt like a rock star! Japan has an amazing richness of theater and other art forms.
In Ireland three amateur drama groups have staged parts of the Trilogy and the feed back is usually positive. Amateur drama in Ireland is a long standing cultural phenomenon.
In April 2020 a theater student, Molly Flanagan at Southern Connecticut State University (SCSU) was to direct The Long Wet Grass. I was very excited to see this but it had to be cancelled because of the COVID-19 situation. Our mixed genre presentation Galway: The Good, the Bad, The Ugly at the New York Irish Center for April 23 had to be cancelled as well as an April performance at Lehman College.
In addition to The McGowan Trilogy, what are some of your successes over the years of which you are most proud?
Since 2016 I have self produced The Long Wet Grass at a number of locations such as Lehman College, City College Downtown, Art House, An Beal Bocht, Hudson Valley Writers’ Center and The New York Irish Center.
In February 2020 I collaborated on the immersive theater event Echoes of Calling with the Japanese dancer and choreographer Akiko Kitamura. If the COVID-19 restrictions lift in time this may be staged again in the Fall.
I worked on two film projects The Long Wet Grass (Ireland/USA, 2017) and The Butterfly Love Song (Ireland/USA, 2019) which was a new medium for me and challenging. I learned a lot – mainly that I should stick to play writing!
My first art form was fiction so I managed to have seven pieces published in Akashic Books’ Mondays Are Murder slot.
What projects do you have in the works?
My next full length play The Blood Flow Game is a sequel to The McGowan Trilogy and is due for publication shortly. The end game for all plays is to have them produced so that is my goal. I have had four table readings of it as part of that process. I thought after The McGowan Trilogy success in Japan I would be a hot prospect but that is not the case!!
The radio play script of The Butterfly Love Song was short listed in Ireland in 2020 and that was a great thrill for me. It was the first radio play I had written. The Cell Theater, where I started off with Dancing at Lunacy, is going to develop it in Fall 2020 as a radio play/podcast.
I have few short films in the works including Three-Nil, Move Baby, Recycle This and The Resurrection Love Song.
Have you been able to get around Covid 19 virtually as other playwrights and artists have done?
The Butterfly Love Song which premiered in NYC in October 2019 and was screened in Dublin in early March 2020 is now being screened offline by various film festivals so that is encouraging. Film lends itself to this more than any other artistic format. Watch the trailer and the full film free at Irish Film London.
What is the first thing you will do, once the medical profession and the government has a handle on Covid 19 and has decided that businesses can reopen along with bars and restaurants?
I am looking forward to getting back to job as a librarian at City College Downtown. It was set up by the Labor Unions in 1981. Many students are first time college goers (like myself), many are from blue collar backgrounds (like myself) so I have a natural affinity with these students. We offer BA, BS and MA programs. Classes run weekday evenings and Saturdays. We specialize in one-on-one advising from day one. Email firstname.lastname@example.org for more info.
I am pretty deaf so I can’t really hear anyone in a noisy café or bar. I write in cafés. My office in Galway – when I am home – is The Secret Garden where I accomplish a lot. I hope it is open by July or I will be in trouble.
I have no writing schedule or format or craft advice or a writing desk or writing techniques. I am probably the worst person to look at for guidance since I do not really know how I write etc. I did an MFA in City College in New York and that was very useful because I had writing deadlines so I had to produce.
You can update Seamus’ activities on his website at www.seamusscanlon.com