News, People

McKenna’s Irish Shop Is Saying Goodbye

Pat Durnin, outside McKenna's Irish Shop in Havertown

Pat Durnin, outside McKenna’s Irish Shop in Havertown

McKenna’s Irish Shop started in Anne Gallagher McKenna’s tiny living room more than 35 years ago, when neighbors would traipse in on Friday night to see the sweaters, mittens, scarves and vests Anne had knitted and place their orders.

“She’d clear off the dining room table and there’d be sweaters and scarves all over the table, the couch, hung up in the corners,” recalls her son-in-law, Pat Durnin, who with his wife, Nancy, eventually took Mrs. McKenna’s little business and ran it in Ardmore, in the current location on Darby Road in Havertown, and, for seven years, in Sea Isle City, NJ.

In the old days, customers would find Mrs. McKenna sitting at a table in the middle of her store, having a cup of tea and knitting. Many would sit down with her and share a cup. “At Christmas, you got a little shot of whiskey,” remembers Durnin with a smile.

But those were other times, before the heady economic days of the Celtic Tiger sent salaries and prices soaring in Ireland and altered the face of Ireland’s cottage industries. Anne Gallagher McKenna died two years ago. The store that bears her name will close by Christmas this year, the victim of what Durnin calls “a perfect storm” of economic forces that has reduced the number of Irish shops in the US from 500 to less than 200. Locally, the Glenside Irish Shop closed over a year ago and two other stores seem to be faltering, says Durnin.

“In Ireland, wages went up, the cost of goods went up, and the cottage industry fell. A lot of the older people [who made Irish goods] have died off,” said Durnin this week, as two women looked over the sweaters and jewelry in the five-room store with its homey fireplace and sunny windows. “It’s expensive to pay people to stay out of the workplace to knit sweaters. It took Mrs. McKenna 40 hours to knit a sweater—that’s a week’s wage.”

That’s the reason why a fine Aran sweater can now cost $300 or more. When Mrs. McKenna began her business, says Durnin, it was before the Internet and email and she would personally visit knitters all over Ireland, most of them homemakers who were “happy to make a few extra shillings for the family.” The cost of making the woolen goods wasn’t as high as it is today.

Then, in 2008, the world economy crashed. Suddenly there wasn’t any money for extras. Waterford Crystal—that fallback wedding gift—went into bankruptcy. Companies that made Irish goods “couldn’t afford to make it at home so they went offshore,” says Durnin. “People don’t want to buy something Irish that’s made in Indonesia.”

And people changed too. “The table top industry crashed,” says Durnin. “You couples aren’t buying 12- piece sets of Beleek china. Most of them don’t have dining rooms, unless they have McMansions, and even if they do, they don’t want to have to store it for the times when they use it. They pick out something that they’ll change every five or 10 years when they don’t like the pattern anymore.”

The store phone starts to ring and Durnin excuses himself to answer it. The call illustrates yet another pressure on McKenna’s and other Irish shops—the price of gold. The woman on the phone wants a St. Brigid’s Cross in gold as a gift for her niece, who is making her confirmation. He doesn’t carry them in stock, he tells her, a pained look spreading across his face. But yes, he can order one for her. He hangs up the phone. “Wait till she see the price,” he says, shaking his head.

Gold jewelry, particularly wedding ring sets, used to be a big part of the shop’s business. “There was a time when Irish wedding rings, like Claddaghs, were really hip and we sold so many of them, even to people who couldn’t even spell Ireland,” says Durnin. “Then, a popular ring set for both man and woman would cost $700. Today, a lady’s ring alone is $900. For the past three years, the price of gold has gone up and up to $2,000 an ounce at one point. “

Not only can’t many couples afford them, there’s a smaller profit for the retailers, says Durnin.

And the last “piece of the puzzle,” as Durnin puts it? Probably the Internet, where today you can get everything from groceries to a date for Saturday night.

“I understand that. We have two sons, 23 and 28, and the older one doesn’t know what the inside of a store looks like,” says Durnin, laughing ruefully. “I talked to a lot of people about it and the local community doesn’t really realize what happens when you you’re not supporting local businesses. Mom-and-pop stores are the lifeblood of a community,” he says.

For one thing, without them, downtowns become nothing more than strip malls of franchises selling Starbucks’ coffee, Subway sandwiches, and Hallmark gifts. Neighborliness, the personal touch—seeing a storeowner knitting while drinking her cuppa, for example—is part of the social fabric of a community, its charm. When the change comes, as it has to many communities across the US, that element of a town, unquantifiable for the purposes of a spread sheet, becomes lost forever.

Durnin and his wife didn’t make their decision overnight. “It took us a long time to come to this reality,” he says. “We really did this as a labor of love, but financially, it wasn’t going to be a good finish. We decided that we had to make this decision with our heads, not our hearts.”

He made the announcement earlier this week on Facebook. “I had to have a few cocktails after I hit send,” he admitted.

The store will remain open through the Christmas season and after that, Durnin says, he’ll be moving ahead with another plan—one that might keep McKenna’s corner as Irish as it is now. But it’s still in such an early stage he doesn’t want to talk about it. “We’re pretty excited about it,” he says. “I hope it works.”

Food & Drink, News, People

A New Brew Pub Comes to Town

Second Story's John Wible and Ken Merriman

Second Story’s John Wible and Ken Merriman

The twos were just too overwhelming to ignore.

When native Dubliner Ken Merriman was looking for a name for his new brew pub, Second Story Brewery seemed like a natural. It’s at 117 Second Street, a few steps from Front Street, in Philadelphia’s Old City neighborhood. The gleaming stainless steel brewing vats that once held Triumph Brewing’s craft beers are on the second floor of the 19th century former cotton and silk warehouse.

And it’s a second story—meaning a real passion for something–for Merriman, his partner, Debbie Grady, and brewer John Wible. “Deb is a farmer (Tilted Barn Farm in Pottstown) and we’re going to be using the wheat, hops, barley and probably yeast from her farm to make the beer,” explained Merriman last week during an invite-only preview that served as a dry run for the pub. “John is an IT guy in Cherry Hill who started as a home brewer. And me, I’ve been drinking beer all my life and now I’m making it!” He laughs.

It’s a second story in another way for Merriman, who grew up in the hotel/restaurant business. It’s his second Philly restaurant adventure. He was until fairly recently the general manager and partner at Tir na Nog at 16th and Arch and continues to run District Riverton Bistro in Riverton, NJ, where he lives.

Serendipity brought the three together. Merriman and Grady met years ago on the rugby field while watching their sons play for St. Joseph’s Prep. Wible is married to Grady’s daughter who started him on his obsession with beer making when she suggested he “find something to do with my time” while she was living temporarily in Vancouver.

“I didn’t know anything about home brewing but then I found a place close to my office that sold the equipment,” says Wible, 29. “Within two months, my new hobby had become a serious obsession.”

It was something of a learning curve to go from making 10 gallons to 500 gallons, but Wible started brewing and testing his own tried and true recipes on a grander scale for Second Story back in July and has 8-10 winners that will be available, along with a few ciders and six outside beers, including Guinness, and a test line done in 10 gallon batches. There’s also a beer engine at the bar for naturally carbonating beer as it’s pumped from the cask which adds a different texture to the beer, explains Wible.

“He’s really not happy about that Guinness,” Merriman confided later with a grin. “He says he’s working on a good dry Irish stout for me so we may be carrying that.”

Like the craft beer, the food is also farm-to-table, including an imaginative array of “bar bites” like black bean egg rolls, sliders with tomato jam and manchego cheese, and grilled wings that are brined, then baked, then grilled.

And the venue, warmed by oak floors, exposed brick walls, a working fireplace, and heavy fire doors that date back to its warehouse days, does double duty—both as a restaurant and event space. There’s a large room with a separate bar upstairs that can handle large parties.

Surprisingly, in a big beer town like Philly—where one section of the city is called Brewerytown—there are only a handful of brew pubs so Second Story doesn’t have lots of competition and certainly not in its neighborhood.

“Philly is a huge craft beer town but what it has is craft breweries,” says Merriman. One of the latest, for example, is St. Benjamin’s in Kensington, where they brew and deliver beer to local bars but don’t yet have a pub (one is in the planning stage). “If you go to a place like Denver, for instance, there are brew pubs on every corner,” Merriman says.

The brew pub is even catching on in Ireland, where traditional pubs are in decline. “I got a great laugh the last time I was in Ireland,” Merriman says. “The Irish were always trashing American beer. When I was back there in February and on the computer researching brew pubs, when I came across six or seven of them in Ireland and they were all advertising ‘American style craft beers.’” He laughed. “I just loved it.”

 

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Arts, History, Music, News, People

Duffy’s Cut: A Voice in the Arts

Matt Patterson, Walt Hunter, Bill Daly, Pat McDade, Anna McGillicuddy, Bill Watson, Earl Schandelmeier and Frank Watson

Matt Patterson, Walt Hunter, Bill Daly, Pat McDade, Anna McGillicuddy, Bill Watson, Earl Schandelmeier and Frank Watson

 

They’ve been called the “forgotten souls” of Duffy’s Cut, but the 57 Irish railroad workers whose deaths in 1832 remained a mystery for nearly 180 years are now well on their way to achieving immortality.

The story of the immigrant laborers hired by Philip Duffy to work Mile 59 of the Pennsylvania-Columbia Railroad in Malvern, PA, but who died within six weeks of their arrival and were buried in a mass grave alongside the tracks, has captured the interest of the news media since it first came to light through the efforts of the Duffy’s Cut Project, led by Bill and Frank Watson, Earl Schandelmeier and the late John Ahtes.

But the story is far from finished (there is still much excavation work to be done, DNA testing, historical and genealogical research), and the impact of the discovery of the Duffy’s Cut site has significance that demands an audience far beyond the one it’s already found.

Irish Network Philadelphia President Bethanne Killian, who is also deeply involved with Duffy’s Cut, realized that the project has established a voice in the Arts. To promote awareness of the presence it’s found in film, music, theater, painting and literature, as well as to raise funds for the continuation of the work, she organized “Duffy’s Cut & the Arts: A Symposium.” Held at Immaculata University, where Bill Watson is both a professor and the History Department Chair (and it’s also the home of The Duffy’s Cut Museum as well as the center of the project), the Symposium was a daylong event that focused on the artistic achievements that are bringing Duffy’s Cut into greater public awareness.

“I’m still amazed at the number of people from the Philadelphia area who are completely unaware of Duffy’s Cut,” Bethanne explained. “Anyone I’ve shared the story with who hears it for the first time is fascinated and appalled. We need to get the word out there—this isn’t just for history buffs. This is a human story—and given its reach into the art world—the humanities as well.”

With an appearance by Irish Vice-Consul Anna McGillicuddy, who braved the trip down from New York for the occasion, the Symposium officially was underway.

Throughout the day, there was music provided by Vince Gallagher and his Band, Marian Makins (who sang Wally Page’s haunting song “Duffy’s Cut”), Pat Kenneally (who sang her original song “Duffy’s Cut” that won first place in the 2013 Pennsylvania Heritage Song Writing Competition), Karen Boyce McCollum, Rosaleen McGill, the band Irish Mist and Bill and Frank Watson on the bagpipes.

There were readings by poet John Bohannon who recited three poems from his collection, “The Barmaids of Tir na Nog,” writer Kelly Clark who has a forthcoming book called “Duffy’s Cut—A Novel” and writer Kristin Walker whose forthcoming book is titled “Between Darkness and the Tide.”

Maria Krivda Poxon performed scenes from her play “Ghost Stories of Duffy’s Cut” with actor Mal Whyte, there were showings of the documentaries “Ghosts of Duffy’s Cut” and “Death on the Railroad” and the presentation of the music video “57” from Kilmaine Saints.

A lot of interest was generated by the panel discussions. The first was “Duffy’s Cut and The Pennsylvania Railroad” with Bill and Frank Watson and Earl Schandelmeier. The second was titled “Duffy’s Cut: Why It Matters” featuring CBS3 news reporter Walt Hunter, film producer and director Bill Daly and actor and Drexel University Film Studies Professor Pat McDade.  Daly and McDade have partnered to form their own production company, Duffy’s Cut Films. They have three feature films in development, and first up is a movie based on Duffy’s Cut. They have the script written, and filming is scheduled to begin in Ireland in April of 2015.

Walt Hunter, who was the first Philadelphia area reporter to cover the Duffy’s Cut discovery explained why the story resonated with him from the beginning. “This was a no-brainer for me. My grandfather was a railroad engineer. He came over from Ballina in County Mayo…it is a very captivating story…at it’s most basic level it is a deeply human story of people with a hope, a dream…and everybody dead within six weeks.”

It was Pat McDade who summed up the the motivation behind the upcoming film he and Bill Daly are developing. “These guys who died, these 57 men, they’re the real Irish story, and we never hear that…here is the beginning of it. Because there are 8,000 other stories out there, about these hardworking, honest people that come to try and find America and don’t find it. And then some of them do. And we’ve got to make sure to get the story told.”

A CD titled “Songs of Duffy’s Cut” was introduced at the Symposium, with all proceeds going to raise money for the Duffy’s Cut Project. It will be available at future Duffy’s Cut events and may also become available for purchase online.

Check out our photos from the day’s events:

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Food & Drink, People

Memorable Monthly Mondays: The Senior Luncheon at The Irish Center

Sean McMenamin & Kathleen Murtagh Sharing a Laugh at the Irish Center Senior Luncheon

Sean McMenamin & Kathleen Murtagh Sharing a Laugh at the Irish Center Senior Luncheon

They call it the “Senior Luncheon,” but organizer Sean McMenamin thinks they need to come up with a more  dynamic moniker to characterize the monthly lunches at The Irish Center in Mt. Airy.

And anyone who has attended one of these social gatherings would agree that there is nothing “senior” about the energy and camaraderie that fill the room.

Co-sponsored by The Irish Immigration Center of Philadelphia and The Commodore Barry Irish Center, and subsidized by the Irish government, the lunches take place at noon one Monday each month, and there is no cost to attend. There are also volunteers who coordinate a transportation schedule for those who want to attend, but don’t have a way of getting there.

The Immigration Center has held weekly luncheons for seniors for years at their home in Upper Darby, but Sean reached out to Siobhan Lyons, the Center’s Executive Director, to arrange an additional lunch at The Irish Center. “We started about 4 years ago, with 36 people attending the first one, and now that it’s been established, we get a regular crowd of about 100 people coming,” Sean explained.

So popular has the luncheon become, that in addition to the newsletters from the Immigration Center, there are also informal pipelines in place to make sure everyone knows the date of the upcoming lunch. Mary Cannon, of Hatboro, has a regular group of 10-18 people she brings with her. She calls her friends after she confirms the date with Leslie Alcock, the Director of Community Programs at the Immigration Center, and they get there about an hour early to make sure they can get their two tables. “I’ve been coming since they started the lunches. It’s really marvelous. They do a great job, the food is marvelous and I get to have lunch with all my friends,” she said.

Mary Jane Rogers and her husband Ted (a former president of the Mayo Society), are also devoted attendees. “We come pretty much every month. It’s a wonderful thing. I don’t know how they do it—and they don’t charge. There is always an abundance of good food. And they do a 50/50 raffle every month, with different prizes.” They usually share a table with their friends from the Irish Community: Betty and Tom Broderick, Arline and Wayne McKeever, Mike Lyons and Jim McDonald.

Talk to anyone at the luncheon, and the reaction is the unanimously the same: It’s a great time. Tom Staunton, who was among those who were at the very first event at The Irish Center, the Mayo Ball in November of 1958, expressed it this way, “It’s a social gathering. You get together with people you don’t see all the time, people you’ve known for a long time in a nice setting.”

Chickie Harvey (real first name Helen), is another regular. “I’ve been coming here for years. My husband Charles was a manager here for 2 years about 25-30 years ago, before he got sick. Now I come to these luncheons, and it’s a real good time. I’ve met a lot of nice people.”

Because the luncheons aren’t just for folks who have been lifetime members of the Irish Center; among the group that Mary Cannon brings with her are friends who were initially unfamiliar with the Mt. Airy home to the Irish community. But once they started to attend the luncheons, they’ve been coming back ever since. “It’s a welcoming place,” one of them said. “I just enjoy everything about it.”

For more information on which Monday of the month the luncheon will be held, or for assistance with transportation, contact Leslie Alcock at The Irish Immigration Center of Philadelphia at 610-789-6355.

And take a look at the fun that goes on there:

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How to Be Irish in Philly

How to Be Irish in Philly This Week

The Dublin Guitar Quartet

The Dublin Guitar Quartet

The Cavan Ball is this Saturday at The Irish Center. There’s a long tradition of county society balls in the Philadelphia area. They’re a chance to get dressed up, have a nice meal, listen to—or, more often than not—dance to some great music, this time from the Vince Gallagher Band.

Also on Saturday night, the Glenside Gaelic Club is holding a fundraising “Wine and Dine” evening, with gourmet food and wine pairings. It takes place at the McSwiney Club in Jenkintown and benefits the youth leagues.

Catch continuing performances of the plays, “A Night with Lady G” and “The Weir,” both Irish plays, in the area this week. (See our calendar for more details.)

Irish language classes continue at Villanova on Monday. Learn to speak Gaelic with a Donegal accent.

On Tuesday, the Dublin Guitar Quartet will be performing at Longwood Gardens in Kennett Square. Using eight and 11-string guitars, the quartet explores music not usually associated with guitars, including contemporary classical music. There’s a coffee reception with the performers after the show.

On Wednesday, the Shantys bring their musical talents—no shortage of rebel tunes!– to the stage at AOH Div. 61 Hall on Rhawn Street in Philadelphia.

On Thursday morning, it will be Rose of Tralee Day in Philadelphia, as city council issues a proclamation honoring the International Rose of Tralee, Maria Walsh, who lives in Philadelphia. Ceremonies take place at 10 AM at City Hall.

Singer Mary Black, making her last overseas tour, makes a stop in Phoenixville where she and her band—and her daughter, singer-songwriter Roisin O—will be at the Colonial Theater. Read our interview with the Dublin-born singer.

Next Saturday, try out your Halloween costume early at the first of several fundraisers for the Philadelphia St. Patrick’s Day Parade—a Halloween party at St. Denis Hall in Havertown. There will be prizes for best get-up, as well as food and music because this, after all, is an Irish event. (That means there will probably be raffles and a 50-50.)

You can add your own event to our calendar. Go to the top of the page, click on “Events Calendar,” then “Submit your event” and do everything the nice instructions tell you to do. Don’t look for your event right away. We get notified via email, then we have to do some clicking ourselves to put it up on the calendar.

Music, News, People

Last Call Tour for Singer Mary Black

Singer Mary Black

Singer Mary Black

Just a couple of years ago, Dublin-born singer Mary Black was touring the world with a new album, “Stories from the Steeples,” her twelfth studio album. This year, she’s taking what might be called a victory lap around the world, marking the last time she’ll be singing abroad. At 58, with grandchildren to cosset, she’ll be bringing her “Last Call Tour” to Phoenixville’s Colonial Theater on Friday, October 24, and drawing it to a close this spring in Belgium, the Netherlands and the UK.

“Last Call” has an unmistakable finality about it. “I’m trying not to think about it too much,” said Black on the phone from her home in Ireland, where her daughter, Roisin, a singer-songwriter who will be opening for her, was making tea. “Cuppa tea, love,” she calls out to her. “I’m looking at her now,” she says into the phone. “I’d love a cuppa,” she says to Roisin.

Along with Roisin, Black has two sons with husband, Joe O’Reilly of Dara Records—Danny is part of the popular Irish group The Coronas and Conor “is the only one in the family with a real job,” she laughs. He’s a surveyor.

It was tough balancing motherhood and a music career that kept her away from home for weeks at a time. It occasionally burned her out—hence the long stretches between tours—and finally, she says, “I had enough of traipsing around.

“I’m not giving up singing,” she hastens to add. “I’ll still perform in Ireland and I may pop across the water to England and if the odd interesting festival pops its head up, I may go. But it’s time to call it a day.”

The tour coincides with the publication of Black’s autobiography, “Down the Crooked Road,” which she wrote, with Roisin’s help, at the request of Transworld Publishers—their second request for a book in two years. (The book was released in Ireland on October 9, but isn’t available in the US until late November.)

What made her say yes the second time?

“In light of my last world tour, if I ever needed to write my autobiography, this was the time,” she says. “Roisin stepped in, typing and drawing the stories out of me. She’s an avid reader and has a natural instinct for painting a picture and setting the scene. It’s hard to be objective about it because I was so involved in it, but I think for fans it will be a good read and will give them insights into who I am and how I handled the ups and downs of life.”

There are no big revelations, she says, but the “crooked road” reference is to more than just a line from one of her songs. “My life was all twists and turns all the way, little hills and dips,” she says. Fans may be surprised to learn that at the height of her career in the 1990s, Black was beset by depression. “It’s very personal, really, but I thought it was important to speak about these things because mental health issues are still a little bit taboo. At times it was a huge problem in my life, so it seems silly to write a book about my life an not say anything about that. At one stage it was really bad, probably the highest point in my life from a career standpoint, when I was really flying high—that was the toughest time. ”

She also struggled, like most working mothers, with the dreaded “work-life balance,” and she delves into the ways “the Catholic religion affected me,” both deep sources of guilt. “I was riddled with guilt and not even aware of it,” she admits. “When I finally realized I thought, well, what the hell was that about?”

Black was born into a musical family. Her father, who came from a rural part of Antrim, played the fiddle and other instruments. Her mother was a singer. Black began singing Irish traditional songs at the age of eight, and she and her four siblings, brothers Shay, Michael and Martin, and her sister, Frances, performed as The Black Family in little clubs around Dublin.

In the 1980s, Black joined a small folk group called General Humbert. They toured Europe and produced two albums. Then, in 1982, she put out her own solo album, Mary Black, which went gold in Ireland. She was part of the group De Dannan and the album, Anthem, which she recorded with them was named Irish Album of the Year.

Her subsequent solo efforts took her into new territory for someone who still sang centuries-old songs in Irish. She began to blend more contemporary tunes into the mix, drawing particularly from two songwriters she loved: Jimmy McCarthy, who wrote “Adam at the Window,” “Bright Blue Rose,” and “Wonder Child;” and the late Noel Brazil who wrote, among other songs, one of Black’s biggest hits, “Columbus,” from her “No Frontiers” album. “No Frontiers” was a career changer for Black. It stayed in the top 30 in Ireland for a year and went triple platinum. It’s also the album that won attention—and adoration—from a new group of American fans. She did her first American tour in 1991.

Though she has co-written several songs, Black does not come from the tradition of singer-songwriters, as her daughter and son are. Her gift and what she is recognized for is her remarkable voice, her interpretation of songs, and a talent for choosing the right material.

“Coming from a folky background, the tradition of writing isn’t there,” she explains. “You’re always on the lookout for a good song, something you hear at a session, but I never thought to pick up a pen. My real talent is interpretation, that’s what I’m good at. I leave the really good writing to people who are really good at it. If you’d ever heard Noel sing his own songs, you would not be impressed. He’s probably listening to me saying this from wherever he is.” She laughs. “But I would take them and put in a bit of magic, not change the lyrics but build on the arrangement. “

Nevertheless, the first piece of advice she gave to the offspring following in her footsteps was “Get the pen out and start writing. Number one, that’s where the money is,” she says, laughing again. “But you need to start from an early age learning the craft. When you’re younger you’re too full of emotions, with the ups and downs, the sadness and the heartbreak, and it’s easier to write when you’re vulnerable like that.”

Though she’s happy with her decision to pull the plug on extensive touring, Black admits that the words “last call,” when she does think about them, leave her “a bit emotional” knowing that this will be a final time she’ll be traveling this particular crooked road.

“But I’m looking forward to it and it’s great having Roisin with me and all the amazing musicians in the band,” she says. “As I said, I try not to think too much about it being the last tour, about it never happening again. I’m just going to try to enjoy it.”

Arts, News

“The Weir”: A Big Play by a Small Company

Bridget Reilly Beauchamp goes over lines with Jim Broyles.

Bridget Reilly Beauchamp goes over lines with Jim Broyles.

You could say “The Weir” is about ghost stories.

You could say it’s about faeries, and the forts where they hid.

You could say, as playwright Conor McPherson once described it, that “just people talking.”

“The Weir,” opening Friday, October 17, in a bright, cozy little performance space on the second floor of a commercial building at 305 Old York Road in Jenkintown, is much more than that, says Bridget Reilly Beauchamp, founding director of Pulley & Buttonhole Theatre Company.

Beauchamp, who read the play and fell in love with it, says she has trouble explaining it because, on the surface, it might not seem like much more is going on than a gathering of people—as McPherson would have it, just talking.

Presiding over a rehearsal one night last week, Beauchamp explained as best she could. “Weirs are dams that don’t restrict water. The currents downstream from the weir can be deep, and they can pull you down. This play is about what you do when you go over the dam and hit the currents. At the end of it, there’s such hope. It’s like a new family has been found. There’s a sense that they have broken free of the currents.”

In “The Weir,” four men gather one night in a sleepy pub in Ireland’s dark countryside, and they’re joined by Valerie, a far more worldly-wise young woman from Dublin. And, yes, the evening begins with some creepy ghost stories, but the conversation turns darker as the young woman shares her own harrowing tale.

A review in London’s Guardian summed it all up pretty well:

“When the stories are spun from the men’s lives, they have a competitive edge—but Valerie has a story that can top them all. As Jack (Brian Cox), the grumpy, melancholic garage owner, proves in the dying embers of the evening, we are all haunted by different kinds of ghosts.”

Ultimately, “The Weir” is a story about the sadness and isolation of the men’s’ lives out in the back of beyond, but there’s a hint of redemption at story’s end.

Beauchamp, who grew up in Jenkintown, understands the closeness—sometimes too close—of small-town life, and it gives her an even deeper appreciation for the play. “Every ‘hello’ here has 40 years of life behind it.”

Her Irish background—her mother a Costello, her father a Reilly, and a birthday two days before St. Patrick’s Day, with its legacy of green birthday cakes—also plays a small part in her understanding of “The Weir,” even though she has never been to Ireland. “There is an ‘Irishness’ to it. You have faeries, of course. There is that sadness, but there is also perseverance.”

“The Weir” opens the season for this tiny company, which draws in a fair number of people who have never acted before. Its name, Beauchamp, comes from a line in a poem by Naoli Shihab Nye, “Famous.” This is the verse:

“I want to be famous in the way a pulley is famous, or a buttonhole, not because it did anything spectacular, but because it never forgot what it could do.”

Beauchamp fell in love with acting and the theatre while she was in high school, as she sat on a stage and watched people dancing around her. She went on to earn degrees in theatre and French from the Allentown College of St. Francis de Sales. “I always knew that’s what I’m supposed to be, and what I’m supposed to do.” She now makes her living as a theatrical dresser, and, although she describes her job as “fun and interesting,” something was missing. That’s when she and friend Kate Pettit co-founded Pulley & Buttonhole.

Working with local people, only a few of whom have acting background, is for Beauchamp a fulfilling part of the process.

Watching the rehearsal, you can tell that her actors feel the same excitement—and they’re quite good, and very convincing in their roles as the take up seats around a bar, replete with Guinness bottles—the fact that the taps are down is a source of some consternation for one of the characters—and bottles of Irish whiskey. (Not real, says Beauchamp.) They’re accents are not quite always spot-on, but for people with no experience on the stage, they come a lot closer to the real deal than many actors with more experience.

One of the cast members, Mark Schule, spent some time in County Sligo, and he developed a good sense for the rhythms and inflections of native Irish, and he shared what he knew with his fellow actors. Beauchamp kept them practicing, and she even told them to do something a little chancy. “Go hang out with people who don’t know who you are, use your accent, and see if they fall for it.”

The experiment apparently worked. The result is some fairly convincing, almost musical, but in no way over-the-top Barry Fitzgerald hammery. “I told them: We’re not doing Lucky Charms here.”

The Pulley & Buttonhole Theatre will hold about 60 audience members. You can be one of them. The play runs October 17, 18, 24 & 25. There’s no elevator access to the theatre space.

Learn more here:

http://www.pulleyandbuttonholetheatre.org/the-weir.html

Here are a few photos from rehearsal.

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Sports

Field of Dreams

It didn't take long for players to become well acquainted with the field.

It didn’t take long for players to become well acquainted with the field.

The leaders of Philadelphia’s Gaelic Athletic Association were always convinced it was going to happen.

On Saturday, after planning and tireless fund-raising for more than 10 years, the GAA’s long-awaited Limerick Field hosted its first games of football and hurling. They started at midday, and went on for hours, men’s teams, women’s teams, Irish football and hurling, all played with the usual intensity—and maybe a bit of pride of ownership.

This marks the GAA’s long-awaited departure from the athletic field at Cardinal Dougherty High School in the Olney section of Philadelphia, where the league has played for about 20 years.

Nothing against Dougherty, says Philly GAA President Sean Breen. “They were always very good to us. But a regulation field is what we needed.”

Sean Breen

Sean Breen

In Ireland, hurling and football are played on fields a minimum of 130 to 145 meters long, and 80 to 90 meters wide. Rounded out, that would be roughly 140 yards by 85. The field at Dougherty is 130 by 65.

In the past, when out-of-town teams who played on regulation fields would face off against Philly teams, Breen says, “They’d be used to the bigger field, but the local boys wouldn’t.”

The new field, in the shadow of the Limerick cooling towers and the fluffy clouds of steam that hang over them, is nothing short of perfectly flat, with none of the ruts and holes the players contended with before. Even though the day started out rainy, the field was mostly dry by game time. Good drainage was an essential part of the planning for the new facility.

And this is just the start.

The 11 acre-property, Breen says, will have two fields and an 80- by 50-foot building, with four changing rooms, showers and a ballroom. The GAA will rent out the ballroom for receptions and parties, which should defray the costs of the facility. All of this comes at some considerable expense, in the neighborhood of $2.5 million, much of which came from local fund-raising, with a considerable contribution from the Gaelic Athletic Association in Ireland. “That was a big help,” says Breen.

“We’ll have to keep raising money. There’s going to be a big golf outing in the spring, and we’re looking for a sponsor,” he says.

The showers and changing rooms in particular will offer a marked improvement over the field at Dougherty, where players changed in their cars in the parking lot, and under trees along the sidelines.

The North American GAA’s Gareth Fitzsimons was on hand for the opening games. The new facility, he says, is about more than football and hurling. “When this is completed, it can only help grow Irish culture here in Philly.”

And it’ll do a lot for the GAA in the States, too, he says.

“In the last 15 years, there’s been a big push to promote our games to Americans. Having a place you can call your own can only help promote the GAA, and it will give the GAA new life.”

We have more photos than you can shake a hurley at.

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