Irish Asssociation of Manitoba

We are looking for volunteers to man our pavilion at Folklorama 2006. This year the Ireland-Irish Pavilion will open the first week of Folklorama, August 6th to 12th. Once again our Pavilion will be located in the Holy Cross Gym, 290 Dubuc Street. Please sign up early to be part of the fun – and bring a friend (non- members welcome). The more the merrier!

“When things go wrong and will not come right, Though you do the best you can, When life looks black as the hour of night, A PINT OF PLAIN IS YOUR ONLY MAN”

Flann O’Brien had an ear for Dublin speech and as a master of language and humour he was able to capture this vernacular in his writing and satire. It was often hard to tell whether Dublin speech was the model for his column (in The Irish Times), or if the column at times became a model for Dublin speech. At times neglected as an important writer, I wonder what Flann O’Brien would think of his current popular appeal after his novel, The Third Policeman, was seen on the set by fans of the hit television drama LOST and who are delirious to discover important plot clues. 

It could be said that the Irish are quick to speak on their feet, and that they can talk to save their souls. Thirst is a witty yarn with an all-star Tara Players ensemble cast. Robbie Wall is stellar in the lead role as the clever and verbose Publican, Mr.Coulahan; the quick-thinking story-teller whose persuasive anecdote inspires the physical discomfort of his antagonist, the Sergeant. The story is carefully built up for effect and climaxes with a most satisfactory conclusion.

The cozy night-time set of a pub after-hours and the collective complicity of drinking friends Peter and Jem, played by seasoned actors Martin Molloy and Brendan Carruthers along with Sidney Gray as the Sergeant, all work in concert to raise the temperature onstage to create a good laugh. 

Whether an authentic Irish identity can be found in pre-Christian pagan folklore or in Dublin speech, I have yet to meet an Irish person with an identity crisis.

A group of 41 beer lovers were in attendance at the Irish Association’s 3rd annual Beer Tasting, held on April 6th. Once again led by Steve Moran of the MLCC, the Maven of Malt, we were guided through 12 different beers in 3 flights of 4 selections … ales, lagers and “adjuncts”.

The first flight (ales) began with Wells Eagle I.P.A. from Bedford UK, possessed of a deep coppery colour and smooth malty palate followed by a complex hop bitterness. This was followed by Coopers Sparkling Ale from Adelaide, Australia, a hazy gold, effervescent ale of medium body, pear-like nose and crisp hop finish. It is fermented in native “Jarrah” wood and krauesened (a delicate process in which fermented beer, after being transferred to another vessel, is mixed with young beer that has just started to ferment) to begin secondary fermentation. Thirdly, from Chambly Quebec came Le Fin du Monde by Unibroue, a strong 9% abv) ale on lees. Stylistically similar to a Belgian tripel, it undergoes 3 separate fermentations with 3 differing yeast, the 3rd being in bottle. It was pale yellow and slightly hazy with a spicy aromatic nature, medium body and clean finish. The final ale was Marstons Oyster Stout from Burton-on Trent UK, a semi-opaque ale deep dark brown/black in colour with ruby highlights. Topped with a tan coloured head, it was full bodied with roasted malt character and a hint of chocolate, finished off with judicious bitterness.

The second flight consisted of 4 widely different lagers. It started off with Stiegel (from Salzburg, Austria), a rich golden lager , nice and malty with a clean soft palate and any easy drinking quality. Next came Christoffel Blond from Roermond in Limburg, Holland. This spicy golden lager is double hopped and lagered 3 months before bottling. It is unfiltered, so remaining yeast cells impart a slight haze. The 3rd lager, Baron Dark Lager, a Bohemian lager from the Czech Republic, had a dark reddish amber colour with a somewhat smoky nose. It had a rich toasted grain and caramel palate, with nicely balanced hop finish. The final lager was E.K.U. 28 , a doppelbock (double-strength bock beer) from the Kulmbacher Brauerei in Bavaria. A mighty beer indeed, at 9.8% abv, it was coppery in colour, with off white head and complex aroma, and massive body (imagine sherry with bubbles). This beer should be enjoyed leisurely.

The last flight, the so-called Adjuncts, consisted of 4 products with differing additions to the main ingredients. First came Floris Ninkelberry by Brasserie Huyghe in Belgium. This Wit beer, flavoured with mango peach and passion fruit, it was soft, golden, slightly opaque and richly fruit flavoured. Next, another Belgian Wit (white) beer – Hoegaarden Wit, a pale cloudy yellow beer made from barley malt and wheat, flavoured with orange peel and coriander. It had a dense white head and was crisp , slightly acidic and refreshing The 3rd selection was Erdinger Dunkel from Germany. Brewed with pale and dark wheat and barley malts, it was deep copper in colour with a tan head. There were hints of chocolate, caramel and wood smoke. Complex , but quite light and drinkable despite a relatively high strength (5.6% abv). The last beer of the evening was Innis & Gunn Oake Aged Ale from Edinburgh. It was rich golden in colour , with a dense head and vanilla and butterscotch nose. A touch of vanilla was evident in the malty body. It is aged in whit oak barrels for 30 days, then transferred to a large tun for 47 days of harmonization before bottling

Following the tasting, a fine spread of chicken, ribs and potato wedges was set out. Thanks to Steve Moran for his expert guidance, to David Laird for efforts in making this (and other such enjoyable events) possible,

John Millington Synge would not have liked progress in modern Ireland if he found the progress of the late nineteenth century in Ireland disturbing. Synge looked for an authentic Irish identity in pre-Christian pagan folklore evident in the stories and phrases spoken by the people of the far-western Aran Islands. In his brief career as a playwright he was a critical force behind the Irish Revival before Ireland was an independent nation. The common language and characters of his plays were controversial for morally conservative Ireland and influential with many Irish writers and playwrights.

Tara Players is an ambitious Theatre Company and the choice and quality of production gives their audience an authentic Irish theatre experience. The Tinkers Wedding challenged me to take a closer look at the playwright and the historical context of the story. So, it can also be said that a Tara Players play is an education about what it means to be Irish, as well as grand entertainment.

The night-time set of a tinker camp, the lighting, costumes and the actors portrayal of this story are comprehensive and charmed the audience away to another time and place.

Siobhan Keely is a confident actress. She is well-chosen to play the fanciful tinker girl, Sarah Casey, who plots to have a proper Christian wedding. When I questioned Siobhan about the motives for this character she told me that she imagined when Sarah was a young girl that she had seen a beautiful bride coming out of a church and that her desire grew out of the impact of this early experience. And why not decide to marry Michael Byrne, portrayed in a lusty performance by Kieran Savage. Kieran understands his character and has captured the language, rustic wisdom and earthy charms of  Michael. 

At first I did not recognize Mary MacMartin. Her entrance from behind the audience and her complete transformation into Mary Byrne is theatre at its most magical. Her performance was pitch-perfect in its entire breadth and depth. She captivated the audience and made this story very real.

Aidan O’Rourke rounds out this engaging cast with a subtle performance as the  unassuming Priest cajoled into performing the ceremony for Sarah and Michael. This character anchors the drama with gravity and is emblematic of the fate of the Catholic church as his morally corrupt character is revealed. It is this revelation and in a plot twist, the rough treatment of the Priest by the tinkers  that would have upset an Irish audience of the early 1900s.  

Ireland is now almost completely independent and is no longer crippled by poverty but the demands of economic growth and an influx of immigration may well be the modern equivalent of a threat to its Irish identity. It is the legacy of the written and spoken word of stories and theatre and the resilient and persuasive charm of its people that will continue to help preserve its Irish identity.