Kaite O'Reilly

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Kaite O'Reilly FRSL is UK-based playwright, author and dramaturge of Irish descent. She has won multiple awards for her work, including the Ted Hughes Award (2011) for her version of Aeschylus's tragedy The Persians. [1] O'Reilly's plays have been performed at venues across the UK and at the Edinburgh Festival. [2] Her work has also been shown internationally including in Europe Australia, Korea, Hong Kong and Taiwan. [2] O'Reilly openly identifies as a disabled artist and has spoken of the importance of "identifying socially and politically as disabled" to her work. [3] In 2023, she was elected a Fellow of the Royal Society of Literature. [4]

Contents

Personal life

O'Reilly was brought up in Birmingham, UK, by her parents who were Irish migrants. When she was growing up, her father was a butcher and market trader. She has described her working-class Irish heritage as "formative" in her career as a playwright. [3] She currently lives in Llanarth, Wales. [1] Kaite is sister of television presenter Miriam O'Reilly. Kaite has a visual impairment and a degenerative spinal condition. [5] However, following the social model of disability she feels disabled by attitudes, not her impairments: "I am a woman with a sensory and physical impairment, but it is society's attitudinal and physical barriers which is disabling, not the idiosyncrasies of my body".[ citation needed ]

Career

Early career (up to 2002)

O'Reilly's first job in theatre was as a performer for Graeae Theatre Company in 1986. [6] In 1994, a piece of her writing appeared in Mustn't Grumble: An Anthology of Writing by Disabled Women (Women's Press). [7] Her first major breakthrough came in 1998 for her play Yard produced for Bush Theatre, London. The play, which addresses themes of conflict, was drafted whilst O'Reilly was working as a relief aid worker in former Yugoslavia. [8] It received critical acclaim, The Independent said the script had "scathing eloquence", and The DailyTelegraph said: "O'Reilly is clearly a writer with promise. She has an ear for lyrical dialogue, a strong sense of setting, and a vital humour." [9] [10] The play was the joint winner of the Peggy Ramsay Award. [9] The following year, Yard was remounted with a German translation, entitled Schlachthaus, that played at Maxim Gorki Theater, Berlin, where it remained in repertoire for nearly two years. [11] In 2000 O'Reilly's Belonging played at Birmingham Repertory Theatre, with The Guardian 's Lyn Gardner describing it as "a little play but a really lovely one" and awarding it three stars. [12]

Increasing mainstream exposure: from Peeling to The Almond and the Seahorse (2002–2008)

O'Reilly's 2002 play Peeling produced with Graeae Theatre Company would prove to be a watershed moment for O'Reilly with it winning plaudits for being "groundbreaking" (The Scotsman). It had two national production runs, and the play text was published by Faber and Faber. [13] Whilst previous works had garnered a positive critical response Peeling was lavished with praise from several major press outlets. The Guardian drew comparisons to Samuel Beckett and called it "a major piece of theatre," awarding it 4 stars. [14] Joyce Macmillan in The Scotsman labelled it a "minor feminist masterpiece" whilst The Herald called it "one of the most entertaining and provocative shows around this year". [15] [16] Benedict Nightingale in The Times awarded it 4 stars, calling it "a remarkably elaborate, imaginative and hard-hitting piece", while The Daily Telegraph described it as "a droll, self-deconstructing piece of theatre that is far too clever to be pigeonholed." [17] [18] Reviews praised the piece for its feminist sensibilities and disability politics, with its three characters played by disabled actresses, it highlighted how marginalised disabled people are by society at large. The play was adapted for radio and aired on Radio 3 in October 2003. [19]

Following Peeling's first production in 2002, O'Reilly's Speaking Stones appeared at Theater ASOU in Austria. In April 2004 O'Reilly's play Perfect was shown at Contact Theatre. It won the Manchester Evening News Theatre Award (2004) for Best Play and Best Design. [20] Later that year, Henhouse was produced with Arcola Theatre. Like Yard, it was influenced by O'Reilly's time in war-torn Yugoslavia, and covers the topic of civil war. [21] In the same month, O'Reilly's radio-play Ambushed by Time, which follows the lives of two couples whose lives have been affected by damaged memory functions, aired on Radio 4's 'The Friday Play'. [22] Between 2006 and 2007 O'Reilly had three more radio-plays aired on the BBC; Bora Bistrah (2007) and Walkie Talkies (2007) aired on Radio 3, whilst Rean's Girls (2006) aired on Radio 4. [23]

O'Reilly's next major staged production came in 2008, in the form of The Almond and the Seahorse originally shown at Sherman Theatre before going on a national tour. The play explores the impact of major brain trauma, from a disability perspective. O'Reilly said she sought to challenge the "usual representations of people who survive brain injury as tragic or as victims". It was well received by the disability-specific press with Disability Arts Online calling it a "brilliant play" that "brings Disability Arts into the mainstream". [24] Other press picked up on this too, Allison Vale in British Theatre Press observed: "O' Reilly passionately believes in the need to stage issues of disability in mainstream theatre. But this play goes far beyond simply providing a platform for the playwright's political agenda: this is a powerful drama, beautifully written, which says as much about the universal themes of life, love, death and devotion as it does about disability." [25] Mainstream newspapers also raved about the production, with The Guardian giving it 5 stars and describing it as an "unmissable drama," while The Stage said: "The contrasts of mood and pace in the confrontations are beautifully handled, the sensitive ensemble work is quite superb." [26] [27]

Work on Unlimited Festivals and more international exposure (2008–present)

2010's Told by the Wind, which was a collaboration with Phillip Zarrilli and Jo Shapland, marked a decidedly experimental turn, where O'Reilly could flex her dramturgical muscles. The show has no dialogue and incorporates elements of dance and post-dramatic aesthetics of East Asia, giving the piece a "meditative" quality. [28] In the same year National Theatre Wales commissioned O'Reilly's site-specific version of Aeschylus' war tragedy The Persians . The play was staged in a mock-up village on Ministry of Defence land in rural Wales, where troops train. As well as receiving glowing reviews (5 stars in The Daily Telegraph and 4 stars in The Guardian and The Times) it also earned O'Reilly the 2011 Ted Hughes Award for poetry. [1] [29] [30]

In Water I'm Weightless was an Unlimited commission as part of the 2012 Cultural Olympiad and featured a cast of six deaf and disabled actors. The piece is experimental in form, with "no plot, narrative or characterisation to speak of" (The Guardian) incorporating access elements into the aesthetic such as sign language. [31] Through "cut and paste" monologues, the play directly confronts stereotypes and barriers placed on disabled people, often inverting these; at one point a whole speech is delivered solely in British Sign Language so the majority of the audience won't be able to understand it. [32] It was well received, getting 4 stars in The Guardian and The Arts Desk with the latter describing it as "almost worthy of Shakespaere". [31] [32]

2014 saw O'Reilly again working with long-time collaborator Phillip Zarrilli on a "performance text" dedicated to Frida Kahlo, The 9 Fridas which was translated into Mandarin and performed by Mobius Strip Theatre at the Taipei International Arts Festival, Taiwan. The show is currently being remounted and will be shown again later in 2016 in Hong Kong. [33] In the same year O'Reilly wrote Woman of Flowers, a retelling of an ancient Welsh myth from the Mabinogion. Disability Arts Online said the script "sparkles with [O'Reilly's] trademark wit and use of evocative language," they also praised the use of integrated access including sign language and surtitles. [34] The Stage were less effusive, awarding it 3 stars: "captivating as this often is, the mythic elements of the play don't always sit easy with the harder, nastier things at the core of this story." [35]

Cosy was O'Reilly's second Unlimited commission which premiered at Wales Millennium Centre in March 2016. The play addresses issues of ageing and end-of-life scenarios, encompassing an integrated cast spanning 3 generations of women in a fictional family. [3] Disability Arts Online concluded: "It's a play that you carry with you; its poignance and linguistic beauty and its clever, irreverent and oddly (considering the subject matter) life-affirming message." Cosy, along with four of O'Reilly's other performance texts, appeared in Atypical Plays for Atypical Actors, which was published later that year by Oberon Press. [36]

Political activism

Throughout both her life and career, O'Reilly has been an outspoken advocate of rights for disabled people. In 1987, O'Reilly lay down in front of a bus at a demo calling for equal access for disabled people to public transport. [37] She told the British Council in a recent video interview "[in the 1980s] I was very involved in the disability civil rights movement, campaigning for equal access to public buildings, education and opportunities...I am incredibly disappointed at how little has changed." [37] O'Reilly has also been vocally critical of the casting of non-disabled actors in disabled roles ('cripping up') and told Gender Forum (an internet-based academic journal) in 2005 that "cripping up is the twenty-first century's answer to blacking up". [38] It is a position she has reasserted on numerous platforms, along with her 'policy' to "put crips in our scripts". [39] [40] As well as speaking out on disability-related issues O'Reilly has also called for greater representation of diversity in theatre and the media, in a 2016 interview, she told The Stage: "Theatre is the site where we gather collectively to explore what it is to be human. We have to have the breadth, depth and diversity of experience, rather than a monoculture or just a segment of society talking to itself." [41]

List of major works

Plays

Radio dramas

Publications

Awards

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References

  1. 1 2 3 "Ceredigion poet Kaite O'Reilly wins Ted Hughes Award". BBC News. 25 March 2011. Retrieved 21 October 2016.
  2. 1 2 "Kaite O'Reilly". www.kaiteoreilly.com. Retrieved 21 October 2016.
  3. 1 2 3 Turnbull, Joe (25 February 2016). "Kaite O'Reilly: 'I come from a Family of Rebels'". Exeunt. Retrieved 21 October 2016.
  4. ↑ Creamer, Ella (12 July 2023). "Royal Society of Literature aims to broaden representation as it announces 62 new fellows". The Guardian.
  5. ↑ "Disabled dancer returns to the stage in provocative new play". The Independent. 30 July 2012. Retrieved 22 October 2016.
  6. ↑ Parton, Russell (28 August 2012). "London 2012 and disability arts: 'we'll be famous for 15 minutes'". The Guardian. ISSN   0261-3077 . Retrieved 22 October 2016.
  7. ↑ Keith, Lois, ed. (1 June 1994). Mustn't Grumble: An Anthology of Writing by Disabled Women. The Women's Press Ltd. ISBN   9780704343443.
  8. ↑ Godfery-Faussett, Charles (7 October 1998). "Review: Yard by Kaite O'Reilly". Time Out.
  9. 1 2 Taylor, Paul (9 October 1998). "Kaite O'Reilly's Yard at Bush Theatre". The Independent.
  10. ↑ Bassett, Kate (6 October 1998). "Review: Yard at Bush Theatre, London". The Daily Telegraph.
  11. ↑ "Kaite O'Reilly: Schlachthaus". www.kaiteoreilly.com. Retrieved 21 October 2016.
  12. ↑ Gardner, Lyn (5 December 2000). "Belonging". The Guardian. ISSN   0261-3077 . Retrieved 21 October 2016.
  13. ↑ O'Reilly, Kaite (2002). Peeling. London: Faber and Faber. ISBN   0571215947.
  14. ↑ Gardner, Lyn (5 April 2002). "Peeling". The Guardian. ISSN   0261-3077 . Retrieved 21 October 2016.
  15. ↑ Macmillan, Joyce (22 August 2003). "Peeling". The Scotsman.
  16. ↑ Brennan, Mary. "Review: Peeling". The Herald.
  17. ↑ Nightingale, Benedict (5 April 2002). "Full, furious flow in the face of the grim world at war". The Times.
  18. ↑ Cavendish, Dominic (9 April 2002). "Provocative chorus of disapproval". The Daily Telegraph.
  19. ↑ BBC. "BBC – Radio 4 – Woman's Hour -Disabled Actors". www.bbc.co.uk. Retrieved 22 October 2016.
  20. ↑ "Kaite O'Reilly: Perfect". www.kaiteoreilly.com. Retrieved 22 October 2016.
  21. ↑ Gardner, Lyn (1 October 2004). "Henhouse". The Guardian. ISSN   0261-3077 . Retrieved 22 October 2016.
  22. ↑ "The Friday Play: Ambushed by Time – BBC Radio 4 FM – 23 July 2004 – BBC Genome". genome.ch.bbc.co.uk. 23 July 2004. Retrieved 22 October 2016.
  23. ↑ "BBC – (none) – Drama on 3 – Bora Bistrah". www.bbc.co.uk. Retrieved 22 October 2016.
  24. ↑ Beer, Sara (14 March 2008). "The Almond and the Seahorse by Kaite O'Reilly". www.disabilityartsonline.org.uk. Disability Arts Online. Retrieved 22 October 2016.
  25. ↑ Vale, Allison. "Theatre review: The Almond and the Seahorse at Sherman Cymru, Cardiff, and touring". www.britishtheatreguide.info. Retrieved 23 October 2016.
  26. ↑ Mahoney, Elisabeth (8 March 2008). "The Almond and the Seahorse". The Guardian. ISSN   0261-3077 . Retrieved 23 October 2016.
  27. ↑ Halliday, Jon (10 March 2008). "The Almond and the Seahorse review at Sherman Cardiff". The Stage. Retrieved 23 October 2016.
  28. ↑ Mahoney, Elisabeth (2 February 2010). "Told By the Wind". The Guardian. ISSN   0261-3077 . Retrieved 23 October 2016.
  29. ↑ Spencer, Charles (13 August 2010). "The Persians, National Theatre of Wales, review". The Daily Telegraph. Retrieved 23 October 2016.
  30. ↑ Billington, Michael (12 August 2010). "The Persians". The Guardian. ISSN   0261-3077 . Retrieved 23 October 2016.
  31. 1 2 Hickling, Alfred (2 August 2012). "In Water I'm Weightless – review". The Guardian. ISSN   0261-3077 . Retrieved 23 October 2016.
  32. 1 2 Moore, Dylan (27 August 2014). "In Water I'm Weightless, National Theatre Wales | Theatre reviews, news & interviews | The Arts Desk". www.theartsdesk.com. Retrieved 23 October 2016.
  33. ↑ O'Reilly (27 August 2016). "On translation, lyricism, and alligator meat". kaiteoreilly. Retrieved 23 October 2016.
  34. ↑ Wentworth, Tom (2 October 2014). "Review: Forest Forge Theatre Company: Woman of Flowers by Kaite O'Reilly". www.disabilityartsonline.org.uk. Disability Arts Online. Retrieved 23 October 2016.
  35. ↑ "Woman of Flowers". The Stage. 24 September 2014. Retrieved 23 October 2016.
  36. ↑ O'Reilly, Kaite (1 March 2016). Atypical Plays for Atypical Actors. Oberon Books Ltd. ISBN   9781783193172.
  37. 1 2 "Video: "Disability culture brings extra richness" – Theatre and Dance". theatreanddance.britishcouncil.org. 14 September 2016. Retrieved 23 October 2016.
  38. ↑ Komporály, Jozefina (2005). ""Cripping up is the twenty-first century's answer to blacking up": Conversation with Kaite O'Reilly on theatre, feminism and disability". Gender Forum (12).
  39. ↑ "Theatre must get over disability and help us 'put crips in our scripts'". The Guardian. 30 August 2012. ISSN   0261-3077 . Retrieved 23 October 2016.
  40. ↑ Shah, Sonali (4 July 2016). "Atypical Plays for Atypical Actors by Kaite O'Reilly (2016: Oberon books)". Disability Arts Online. Retrieved 23 October 2016.
  41. ↑ Turnbull, Joe (4 March 2016). "Kaite O'Reilly: 'I'm challenging the notion of normality'". The Stage. Retrieved 23 October 2016.
  42. 1 2 "Kaite O'Reilly". Blake Friedmann. Retrieved 22 October 2016.
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