Premiered at the 2024 Galway Theatre Festival, the Good Crank launches its 2025 tour
2025 Dates:
The Purty Kitchen DunLaoghaire 23 April – 25 April 8pm
The Viking Theatre Clontarf 28 April – 10 May 8pm
The Civic Theatre Tallaght 12 May – 16 May 8.15pm (watch out for extra matinee performance 13 May 1pm)
Smock Alley (Boys’ School) 20 – 24 May 8pm (watch out for extra matinee performance 24 May 3pm)
Backstage Theatre Longford 14 June 8pm
Cork Arts Theatre 13 August – 16 August at 8pm (watch out for two extra matinee performances Thursday 14 and Friday 15 August 1pm – so good we did it twice!)
St. John’s Theatre, Listowel Sunday 17 August 8pm
Pavilion Theatre DunLaoghaire, Sat 6 September MATINEE PERFORMANCE at 2.30pm
Meet Kitty Clogg, played by Rose Henderson. She lives by herself in Single Street, the oldest street in town, and certain in her belief that she is never going to die. Kitty’s got a few things on her mind. There’s neighbour Phyllis Quirke, determined to ply Kitty with industrial quantities of questionable wine. There’s neighbour Jack, self anointed inventor of the iPod and never slow to remind Kitty about what a crank she is. There’s ex-Yoga master turned cowboy builder, keen to throw up an apartment complex out back of Kitty’s house. Then there’s the mystery of what happened to the main man in Kitty’s life. Here one day, gone the next, without so much as a thank you for the memories.
With her singular attitude, Kitty doles out the warp and woof of her life. And it’s while in the throes of her daily commentaries that Kitty feels compelled to make one final effort to uncover the truth of the whereabouts of her vanished man.
It is the first anniversary of Martin’s death, Angie’s lover. His family has come to visit his grave. Angie watches the mourners from the safety of her car, hidden under the Yew tree. She remains unseen, her own grief buried deep within. She remembers the foxes, appearing in formation like a string of ugly thoughts…..VIXEN by Helen Casey is a compelling psychological drama of one woman’s resilience, determination and desperation to name the love that was hers, but belonged to another. Both haunting and mesmerizing, it is a visceral exploration of love, unspoken loss and uncomfortable truths. As we are drawn further into Angie’s world, the emotional rollercoaster plunges from the frothy highs to a much darker terrain filled with suspense and a gnawing grief. Tis better to have loved and lost…or is it?
IRISH INDEPENDENT – KATY HAYES
– WED 28 JUNE 2023
VIXEN REVIEW: A PORTRAIT OF THE OTHER WOMAN IN THE AFTERMATH OF A SUDDEN DEATH
It was said after the coronation of King Charles III that this was a great year for “side chicks”, with Camilla finally getting to be crowned queen. This interesting monologue play by Helen Casey gives an account of how it feels to be the unacknowledged “side chick” after the sudden death of a lover, while the wife and family absorb all the public grieving space.
Angie is an art teacher. We are in her apartment on the first anniversary of Martin’s death, a day she has booked as a holiday from work so she can process her grief in private. She spent the morning visiting his grave, then hid in her car under a yew tree and watched from afar when his wife and family arrived.
Angie is a complex creature and indulges a recurring fantasy of meeting the wife and confessing the affair. She runs this confrontational scenario in different versions in her head – these passages are the best writing in the play. Casey’s style is perceptive and often poetic. The vixen of the title reflects some vivid symbolism involving foxes. And the story is well shaped; the slow revelation of how Martin died is satisfying and the conclusion brings a welcome flourish.
Rose Henderson is skittish and spirited as Angie, the off-kilter element of this clandestine relationship neatly embodied. She captures the anger of the “bit on the side”, her number hidden in his phone under the title “boiler repairs”.
Caroline FitzGer;ald directs with great sensitivity, ensuring Henderson hits the high points of intensity as well as the more playful elements.
But the story could do with more texture. More details of Martin’s liffe and their experiences together – this material remains vague, with a few gestures at art galleries and hotels. Martin never becomes a real flesh-and-blood creation in the writing. Angie’s devotion to him comes across clearly, but the lack of detail means we never understand why she is so devoted. And this is a real weakness in the generally accomplished storytelling.
The cosy New Theatre provides a lovely space for this kind of work that relies on direct communication with the audience. At 50 minutes, the play is short and sweet, a pleasant diversion, and Henderson’s warm stage presence wins you over.
NO MORE WORKHORSE – 29 JUNE 2023
We meet Angie (Rose Henderson) as she has just returned home to her apartment. Today is the one-year anniversary of the death of her lover; Martin. It has been a difficult year for her, made worse by the fact that she couldnt attend Martin’s funeral. While Angie was in love with Martin, she was a secret part of his life. Martin was married and Angie was his mistress, his ‘bit on the side’ and this is her story.
This is a one-woman piece with Rose Henderson taking the part of the ‘other woman’ Angie. Rose is a regular on Fair City and has worked on a variety of TV shows, even making an appearance as Sister Assumpta on Father Ted! This is a new piece written by Helen Casey. Helen has worked in theatre for many years, and is involved with “drama in education; creating and devising theatre in school and community settings.
The set design (by Martin Cahill) gives us the sitting room of Angie’s apartment, complete with a sofa and various tables and chairs. Often in small venues such as this, the actor is left with a barren stage but time and effort went into this set.
This is an interesting topic for a play and it is rare we get to hear this side of the story. It is also unusual how unrepentant Angie is she doesn’t see herself as a homewrecker, nor is she consumed by guilt. The piece gives many good images and moments in their affair but doesn’t give us an insight into how the relationship started or evolved. It would give the production more depth if the character of Martin was developed further but he remains elusive. The script contains many moments in their relationship, such as weekends away and their time in her apartment, which are handled well. Rose Henderson is lively and vivacious on stage, keeping the audience entertained and on her side throughout. In the wrong hands, she may have lost the audience, but Angie feels like a warm and friendly character that would be difficult to dislike. The piece has an original slant and the performance of Rose Henderson gives the piece life.
STELLAR MAGAZINE
Punter’s comments:
Saw Vixen last night in the New Theatre. I would totally recommend it. It’s a beautifully heightened piece of writing that is excellently directed. You get to see Rose Henderson as you’ve never seen her before. What versatility! She creates a ‘vixen’ with great warmth, wit and understanding. You could hear a pin drop in the Theatre. Overall it’s a gorgeous piece. – Liam Halligan, director
Rose Henderson was wonderful in the role. Congratulations to the writer Helen Casey and legendary director Caroline FitzGerald – Jack Gilligan
I was really, really moved by the performance of Vixen this evening. Rose’s performance was stunning. – Brid McCarthy
Rose is an absolutely outstanding actress
Vixen was so cleverly written, challenging and inviting us to think about the unsaid and unseen heartfelt in Angie’s life. Lovely coupling and resonances with words – poetic and poignant.
Enjoyed Vixen – especially the twist at the end
Congratulations Helen, on a super play. A powerful exposition on the complexity of relationships. And a stunning performance from Rose. Top drawer – Clodagh Havel
OMG Amazing. Vixen was performed so beautifully. Adored every second.
The character Angie unravelled before us, layers beneath layers, opening up and at times closing up to catch breath, to find courage. Declaiming as the wine and the sugar took hold. The piece disturbed me in the best possible way that theatre should. Angie appeared a cornered vixen howling in both triumph and grief, resigned to her fate, now the quarry, now the ‘other woman’. In the closing minutes we see Angie like a prisoner awaiting execution, or is it absolution? The widow ascends like a vengeful angel from the underworld looking for that missing piece of herself. In the widow’s mind, Angie is that missing piece. In confronting Angie she will only ever see her own self reflected back, the truth that she too is ‘the other’. In the end the wily vixen steals away into the shadows feeding on the memories, the leftovers beyond death, and each pebble brought to the grave, a love letter. – Sean Molloy
A tour de force, Rose. Loved Angie’s intensity and spirit and the play on Vixen/foxes. You totally held your audience. Don’t think I’ll be looking for vacancy as mistress! – Ros B
Brilliant performance – Sandra Bogle
Fantastic. It’s just lovely when a play and a performance are just perfect together – M Cahill
Fantasic show Rose. Such versatility and courage. You’re phenomenal, every moment perfectly judged! – Isobel Mahon
Fantastic show and performance. Could see you enjoyed all of it. That’s what stood out to me. – Luke Collins
ABODE IS on general cinema release in Ireland from November 7th. The film had its world premiere at the recent Galway Film Fleadh in July and screened at the final IndieCork Film Festival in early October.
ABODE is a 81 minute feature film with five stories connected by the theme of home and what it means to the different characters in the film. Whether the characters are living in mansions or on the street, in a big city, suburbia or in the countryside, home has an importance and a different meaning for each of the characters. The stories are a mix of drama and comedy, inspired by true stories and very relevant today. In a way the theme of home is always relevant..
The ensemble cast for ABODE include:
Ryan Lincoln (‘Kin’, ‘Michael Inside’), Sophie Vavessuer (‘Flora and Son’, ‘Bring it On’), Liam O Mochain (‘Lost & Found’, ‘Attendants’), Marion O’Dwyer (‘God’s Creatures’, ‘BallyKissAngel’), Anthony Morris (‘The Watchers’, ‘Game of Thrones’), Brendan Conroy (‘Bodkin’, ‘That They May Face The Rising Sun’), Mary McEvoy (‘Extra Ordinary’, ‘Bridget & Eamonn’), Matthew O’Brien (‘Conversation With Friends’), Mary Murray (‘Dead Still’, ‘Love/Hate’, ‘Magdalene Sisters’), Stephen Jones (‘Northern Lights’, ‘Into The Badlands’), Rose Henderson (‘Nowhere Fast’, ’Fr. Ted’) and Donncha Crowley (‘The Green Knight’, ‘Kings’, ‘Fr Ted’).
Tara Egan-Langley, Rose Henderson, Flavia Watson, and Sophia Adli
My good looking son Eoin Macken, with Sophia jumping into the mirrorRose, Tara and Flavia
A feature film shot in three weeks in County Wicklow. Christmas came briefly to Redcross in August and the film was released in the US and Canada in late November 2024.
Helen Casey’s ESMERALDA is a new play about friendship, mothering and the power of choice in women’s lives.
Brid (Rose Henderson), Catriona (Fiana Toibin) and Nuala, one time school friends, now middle aged, have arranged to meet.
A trip down memory lane.
Brid gets busy showing off her dance moves, a stranger (Fiona Condon) turns up on a bicycle , memory lane reveals its secrets and lies….and of course there’s Esmeralda.
Set Design by Martin Cahill Lighting Design by Cathy O’Carroll Stage Management by Eva Walsh Assistant director Sinead Ringwood Choreography Diane Richardson Image by Naomi O’ Dwyer
Esmerelda – Review by Frank L
Esmeralda is a trip down memory lane when three old school friends Brid (Rose Henderson), Catriona (Fiana Toibin) and Nuala agree to meet at what is apparently Nuala’s holiday home. However, Nuala is waylaid so Brid and Catriona can chat and reminisce. They also reveal some of the choices that they have made in their life. However, both are somewhat guarded. Brid appears to be the more content character and is all on to participate in what is happening at the end of the pier where a long sunken boat is about to be raised, while Catriona has little interest. All the time they are waiting for Nuala to arrive. Eventually, Nuala’s daughter Michele appears on a bicycle with the key. She is however in a highly distressed state. She cannot help blurting out to Brid and Catriona the cause of her great unhappiness. When she leaves Brid and Catriona react to her plight in opposite ways. They have an argument and what was guarded is now revealed.
The set consists of the outside of a holiday home with a picture window. On the window sill, a large number of babushka dolls are lined up, graded from large to small. There are random chairs and a table which are typical of a holiday home.
In the first part of the play, Brid plays the more prominent role and Henderson has a ball as she relives the dance steps of her teenage years. At this stage, Catriona plays a more passive role. But following the arrival and departure of Michelle, Catriona goes into no-holds-barred mode and one can feel her palpable anger and indeed fury as she lets rip. It is an impressive performance by Toibin and she is far more imposing in this format than she was gently reminiscing in the first part.
This is a serious production but the early scenes need to be tightened. The opening section of the play adds little to the overall flow, but the final confrontation between Brid and Catriona is a fine piece of theatre and makes it all worthwhile.
Written by Helen Casey Directed by Caroline FitzGearld Starring Rose Henderson, Fiana Toibin and Fiona Condon Set Design by Martin Cahill Lighting Design by Cathy O’Carroll Stage Management by Eva Walsh Assistant director Sinead Ringwood Choreography Diane Richardson Image by Naomi O’ Dwyer
Starring Rose Henderson (Imelda) and Declan Curran (Ciaran) and set in the beautiful hills of Castlewellan. Imelda is shocked to find out that her grandson Ciaran has decided to move in with her. She is suspicious that the family have decided she cannot cope on her own and is reluctant to welcome him and positively frightened by his high tech ways. He can’t imagine life without WiFi and a compromise must be found.
Runner up BEST SHORT FILM FOYLE FILM FESTIVAL
DEAR IMELDA Indie Shorts Magazine, 16 Aug 2024
Starring Rose Henderson and Declan Curran
Direction ***** Aron Holden Cinematography ***** Raditya Santosa Screenplay ***** Declan Curran Editing ***** Aron Holden Music ***** Tara Howley
Perhaps one of the finest shorts to come out this year, Director/Editor Aron Holden’s Dear Imelda set in a bucolic countryside of Ireland, explores the relationship between the eponymous Imelda (Rose Henderson) and her unwelcome grandson Ciaran (Declan curran). That he is unwelcome becomes evident right from the opening scene, but the hilarity of the two keeps snowballing until a secret deeply nurtured gets exposed. Holden lets the story take a wonderful turn to shed light on age, distance, relationships and the effect time and technology has on them, and in doing so he deftly manoeuvres the narration into one that leaves behind a sweet, emotional and thought-provoking outcome. At 17:38 minutes, Dear Imelda not only manages to create an engaging timeline, but also leaves enough space for impactful moments that are long enough to be effective, and short enough to not become overly dragging. Declan Curran, who also happens to play the grandson Ciaran has an unmistakable boyish charm that he uses effectively to bring a cheeky but adorable temperament for his character. Right from stepping into Granny Imelda’s doorstep, Henderson makes it clear that this is her turf and an unwelcome guest shall remain subject of her suspicion. Words fall short when it comes to praising Henderson, the performance is simply that addictive. Her movements, antics, body language are spot on to what you’d expect the elderly generation to be. While wary and fiercely protective of her space and independence, one can’t help but fall in love with her when she peeks into her grandson’s activities. Watch out for the scene where she rummages through a parcel delivered, despite knowing its contents aren’t meant for her! Tara Howley, whose music plays a crucial role in Dear Imelda manages to transport on in time. And it’s used with effect, to evoke a sense of belonging to something tender and dearly cherished. It’s worth noting how Holden uses the music to bring the characters together in an unexpecting but deeply personal way. As Ciaran and his Granny begin working out each other’s quirks, the small tasks undertaken, be it the grocery shopping or installing of the internet, they all become points of both contention, hilarious drama and an eventual surrender. The generation gap is well explored in these moments, using very little dialogue, which adds shimmer to the script. Raditya Santosa, whose cinematography captures the beauty of Ireland like no other, offers plenty of shots that manage to cover the vastness, the emptiness and the space in between the house, its surroundings and its occupants in a manner that can only evoke bliss. It’s a feat in itself, because not only does it bring to life Imelda’s life but also its loneliness and the grim heartache she nurtured until unwittingly Ciaran ends up finding I out. There is a wholesomeness to this story, not simply because of its climax, but the approach that Holden takes. It is deliberate, measured and yet generous in its emotions and the lead actors do a wonderful job at bringing to life their characters. So wonderful is their chemistry and the natural disposition of their performance that one ends up hoping for a series or at least a sequel. A much deserved, a much awaited reply to Dear Imelda….
Aron Holden, Rose Henderson and Declan Curran
DEAR IMELDA UK Film Review Critic|: Jason Knight, July 7 2024
Directed by: Aron Holden Written by: Declan curran Starring: Rose Henderson and Declan Curran
A young man goes to stay with his grandmother and ends up changing her life for the better. The setting of this short comedy drama is Ireland’s countryside, where Imelda (Henderson) an elderly woman, resides in a house by herself. One day, her grandson Ciaran (Curran) arrives as he needs a place to stay. Although she allows him into her home, she is unhappy with his presence as he unwillingly disrupts her lifestyle and he also brings technology into her house, which she is not fond of. However, he discovers something about her that will bring joy into her life. The results of an unexpected family reunion is where the narrative follows and some are humorous and others are dramatic and they all involve Ciaran’s efforts to improve things for Imelda. Starting with throwing away her expired food and fixing her television, he then proceeds to introduce her to the internet and other technological products such as headphones. Although she initially refuses to have significant technology into her life, she eventually accepts it and it does make things better for her. However, Ciaran’s most significant contribution occurs when he attempts to contact a past friend of Imelda’s who he becomes aware of after seeing his granny looking through a photo album. Story aside, this film also serves as a commentary about technology, about how technology makes people’s lives more comfortable and also seems to suggest that the elderly tend to be unaware of the benefits this application. This short would not be a high-quality viewing without Henderson’s magnificent performance. Her character is a person who has become accustomed to living by herself and not relying on technology. She is kind of childish, utilising a tablet as a cutting board and treating the Internet like it is a lethal threat and she seems to be a bit confused, forgetting things such as buying new food and the condition of certain objects. She appears to find comfort by looking at pictures of her and a friend from when they were children. She goes through significant character development as she accepts her grandson into her life and embraces technology. Ciaran is a kind and helpful youth, played sympathetically by Curran. He cares deeply for his grandmother and goes to great lengths to make her life more comfortable and happy. Huge commendations go to Holden’s superb directing, which includes wonderful shots of the ocean and landscapes, that are supported by Raditya Santosa’s cinematography. Holden also worked on the editing and is quite creative with the montages. The beautiful music by Tara Holey and Faliq Auri is another element that deserves praise, especially when it comes to the song that enchants Imelda. This is a heart-warming story about a caring youngster who manages to improve the life of his grandmother. Exploring old age, nostalgia and the significance of support and reaching out, this short provides an emotional and at times comical experience.
“A feisty older woman (Rose Henderson) desperate to pay for her son’s wedding band starts a Zoom Fans baking channel, but quickly realises that her version of Baps and Buns may be somewhat different.”
Mob the Trench is set in a future where a 130 year old priest (Arthur Riordan) is confronted by an angry mob where a mixed nut sorting machine has disproven the existence of God, bringing his own faith into question. The film opens with a woman (Rose Henderson), a community leader with a prosthetic eye, is watching an advert for Huxley’s mixed nuts. Incensed by what she now believes are lies told to her by the Clergy, she rallies and coordinates the mob. It’s an ambitious, unusual and unique project supported by the Arts Council of Ireland, Screen Ireland, Limerick City and County Arts Office and the National Youth Film and Animation Network. We’re working with Odyssey Studios, the Screen Composers Guild of Ireland, Fantastic Films and our crew of experienced young filmmakers (who have been at this for three years) are writing, directing, shooting and leading the project in all areas. Mob the Trench will be premier at DIFF.
Back: Steven Nolan, Rose Henderson, Aoibhin Murphy, Martin Bridgeman (sound) Gillian Grattan (writer/director) Front: Susie Lamb, Lucy Dunne, John MortonRose and John Morton in studio
