There’s No ‘V’ In Gaelic

29 Jan 2007 in Dance & Drama

Citizens Theatre, Glasgow, 26 Jnauary 2007

Young Participants of a TAG/An Lochran workshop programme - performing pieces they have written. (photo - Tim Morozzo)

KNOWING THAT ‘There’s No V in Gaelic’ is being talked about as the Gaelic equivalent of ‘The Vagina Monologues’ ( and that’s where the ‘V’ comes into it), one entered the Citizens Theatre in a not inconsiderable state of apprehension and curiosity.

After all, the actresses involved are attempting really ground-breaking stuff in the Gaelic world here – a play which involves ‘rude’ words and concerns itself with topics such as ‘intimate health education’, smear tests and robotic ‘love’ partners is going to create a lot of waves in Gaelic circles – and not a few outside, too.

Co-presented by Glasgow-based Gaelic Arts organistion An Lochran and the TAG Theatre Company, and scripted by Seonag Monk, the play is described as ‘Three women enjoy a night out at the theatre. They discuss life, love and sex. But what about the play?’.

Presented ‘in the round’, it features the not inconsiderable talents of well known Gaelic singer Cathy Ann Macphee, from Barra, now living in Canada; Gaelic actress, singer and presenter Kathleen MacInnes; and singer and folklorist Margaret Bennett.

The play also provided an opportunity for 6 teenage girls to work on their own script writing and dramatic skills, by working together over twelve weeks with the Community Director, Elly Goodman, to produce 9 short sketches, on such wide ranging topics such as Oscar speech making, women drivers, cheated wives and ‘the latest in latex companions’.

Surely this is an important step forward for Gaelic drama – that it is a relevant, contemporary language which has its own place in the world of script writing and theatre

The audience is caught on the hop at the beginning of the play when we suddenly realise that three members of the audience are having a much louder conversation than the rest of us, in a mixture of both Gaelic and English. These three strangers immediately establish a rapport with themselves and the audience, who are instantly drawn into the action.

There to watch a play themselves, the three actresses present their script in a most beguiling and natural manner, incorporating much improvisation and depending on audience reactions. Within minutes, they have the audience lauging from their boots.

From the trauma of An Comunn Gaidhealach Youth Camp in Fort William to stamps found in embarrassing places during medical examinations, we are given it all – no room for embarrassment or inhibitions here. A quick scan of audience faces in the room did not reveal any disapproving features.

The intimate discussions are halted at periodic intervals by the arrival of the ‘real’ play and the girls’ sketches. The sketches were all presented in confident style, all the more remarkable when we remember that they are self written and developed.

One of the most striking features of the play is the manner in which the audience is taken, in a split second, from the heights of hilarity to the depths of trauma and despair. It may make us feel slightly uncomfortable, but that is what the writer wants us to feel – to take a look at ourselves, have a laugh at ourselves, but also show us the harsher side of life’s more trying phases.

Non Gaelic speakers might miss some of the finer comedy, but will still be able to get the gist of the action ( one of the sketches is performed entirely in English anyway), and in any case, is laughter not infectious?

Being presented mainly through the medium of Gaelic, it might be expected that the play would centre around the world of Gaeldom, but the odd reference to Barra or Gaelic itself notwithstanding, this play is about women anywhere. Surely this is an important step forward for Gaelic drama – that it is a relevant, contemporary language which has its own place in the world of script writing and theatre.

Yes it is hugely funny, yes the ‘acting’ – if that’s what you call it, as it seems so natural – is excellent, as is the direction, but it also has messages for us on many levels.

A wonderfully warm and enjoyable evening of laughter – and song, of course – which also has the ability to pierce our souls in some way is not easily come by in these days of reality shows and phone-in quizzes. Let us hope that Seonag Monk gives us more of her pithy and hilarious script writing not too far in the future. ‘S math rinn sibh uile!