Culture
From Rory's hometown, the angst of McIlroy
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HOLYWOOD, Northern Ireland — About 3,000 miles from here, Rory McIlroy walked along Manhattan’s West Side five weeks ago; shoulders pushed up, head slung down, earbuds in. He strolled the High Line, a repurposed freight rail running from Gansevoort Street to 34th Street. The 1.5-mile footpath towers 30 feet over 11th Avenue, above the fray, but through the noise of America’s busiest city.
That’s where McIlroy went to get away from it all.
He needed to process the latest close call in a career coming to be defined by them. This one? Especially cruel. Pinehurst. Three bogeys in the final four holes. Those missed putts. Two feet and 11 inches on the 16th. Three feet and nine inches on the 18th. A solo runner-up finish at the U.S. Open. Again.
McIlroy wanted the blur of a big city, where everything is fast, faceless. It’s what he prefers nowadays. He walked alone, hidden under the brim of a baseball cap, then dipped into Milos, a world-class Mediterranean restaurant in Hudson Yards. He elbowed up at a bar seat, checked his phone and opened a text message from a close friend.
That message? It asked if he’d just been walking the High Line. Apparently, McIlroy had been spotted. Word got around.
“It’s hard to get any sort of privacy these days,” he says. “But it’s nice to try to blend in as much as possible.”
Ages ago, McIlroy found solace along the narrow streets of Holywood, this small town where the butcher knows the baker, and the bartender knows the banker, and the bookmakers know the bookkeepers. They all live here, tucked between Belfast and Bangor, along the shoreline of Belfast Lough, the inlet connecting this section of Northern Ireland to the Irish Sea. A little more than 10,000 people. Solidly middle-class. Wealth around the edges. A mix of Protestant and Catholic. They’re abundantly proud to have raised generations of kids well isolated from the religious tensions that long defined the region.
As one local puts it: “A lovely little town. Everybody has grown up with everybody.”
Holywood was the early proxy used to explain Rory to the world upon his arrival in 2008 as a potential superstar. Sportswriters and broadcasters traveled here like pilgrims. More and more from his breakout U.S. Open win in 2011 to his thunderclap in 2014 — winning his third and fourth majors in succession at age 25.
The visitors drove rental cars down High Street. They squeezed into parking spaces and popped into one business after another. Holywood’s main strip is dotted by coffee shops, cafes and retail shops. You can’t read a story from back then without a mention of Skinners Bakery, where owner Valerie Baker designed biscuits and buns with Young Rory’s face. In 2014, after McIlroy’s win at the PGA Championship, she told the Belfast Telegraph: “It’s become something of a tradition now. This is the fourth time we’ve baked our special Rory biscuits. They always sell out.”
Next door to Skinners is Orrs Butchers. That’s where writers found Stephen Moore. He’d say how much the town was buzzing. How Rory put little Holywood on the map. How he was going to win the next major, and then the next one after that.
Inevitably, the visitors would head up the hill, deeper into town, to Holywood Golf Club. Where Rory learned the game. Where local liquor laws were winked at as family and friends watched final rounds of major tournaments long after last call. Where television cameras broadcast them cheering their boy, Rory. He would win, return to town with a trophy, and everyone would be together again.
Today, things are different, but Holywood remains.
It’s a Friday afternoon and Paul the barman is looking for the key again.
Two Americans are coming off the 18th hole and want their turn. Rory’s Corner, a mini custom-built McIlroy museum in the middle of Holywood GC’s clubhouse, is open to the public. The walls are covered. Pictures of a 15-year-old with big freckles and bigger hair. Framed newspapers of long ago wins. Plaques. Memorabilia.
So for the umpteenth time today, the trophy case is opened, and replicas of the Claret Jug and Wanamaker Trophy are handed over. Big smiles. Pictures snapped.
Later, two Aussies will come in to do the same. Paul will fetch the keys, take them to the trophy case, pop it open again.
Shortly after that, near sunset, a sightseeing bus from a docked cruise ship will climb the hills of Holywood, turn down Demesne Road, and pull onto Nun’s Walk, the tiny road leading up to the clubhouse. The Home of Rory McIlroy is a stop on the tour.
“All day, every day, seven days a week,” says Stephen Tullin, president of Holywood Golf Club.
You can make a reasonable case no club is so associated with a player it produced as Holywood is with Rory. Arnold Palmer and Latrobe Country Club? Jack Nicklaus and Scioto? It’s a short list.
“I don’t know what course Tiger Woods was involved with as a lad,” says Tony Denvir, a Holywood GC member. “But everyone knows Rory McIlroy was, and is, a member of Holywood Golf Club.”
The reason, it seems, is the fairy tale, one told so many times. Born in 1989 to Gerry and Rosie McIlroy, Rory McIlroy was immediately a prodigy. His parents worked multiple jobs, trading night and day shifts, assuring the boy every opportunity. Gerry, a fine player in Belfast’s amateur golf leagues, taught his son the game and let him loose at Holywood. He was so good, so soon, the club made him a member at age 7. Rory left high school at 16 to focus on a game that grew larger than life. The result was a young lad coming from a working man’s club to conquer the world.
“Nobody was ready for what happened,” says Barry Dobbin.
Now 78, Dobbin still seems to be wrapping his head around it all. A lifetime ago, he owned a timber-frame housing kit company and employed Gerry as an insulation installer. He, Gerry, and Gerry’s father, Jimmy (Rory’s grandfather), played golf together. Dobbin drove Gerry and Rosie to their 1988 wedding, then to the reception at Pips International, the best-known nightclub in Belfast.
He remembers Rory as a baby.
And he remembers that baby suddenly becoming the biggest story in the golfing world.
“It all happened so quickly,” Dobbin says. “And suddenly we were this magic place.”
The waves of tourists that come through today want exactly that. A piece of magic. Americans, Canadians, Swiss, French, Japanese. They fork over greens fees to play what amounts to a simple, short, 120-year-old parkland course. They ask to hear all the stories. They take pictures of the sign in front of Rory’s reserved parking spot.
On this day, a nondescript sedan is parked there.
“Oh, that’s Paul’s,” Denvir says.
The sound on the 18th green at Pinehurst last month was guttural. A gasping, shrieking, sighing, moaning anguish. The thousands of fans surrounding the final hole of the 2024 U.S. Open couldn’t believe McIlroy missed that putt. At the same time, they absolutely could believe it. They’ve seen it before. That’s how a major tournament winless streak goes from 36 to 37.
In Holywood? All was quiet that night.
“Back in the day, Rory in contention at a U.S. Open, this place would’ve been jam-packed for that,” Denvir says. “Bar would’ve been full. Overflow seating in the other room. Would’ve been fantastic craic.”
That was back when the bar stayed open late and the cameras came out. BBC, Sky Sports. Maybe ESPN. Photographers snapping away.
“That’s died off a wee bit,” Denvir says.
Instead, everyone watched the misadventures of Pinehurst from home.
Blank faces in front of the flickering screens.
“Pinehurst was … ” Denvir says, lifting his hands and dropping them. “You really could tell that the wee lad just wanted to stand there and cry. He was obviously heartbroken. It was so hard to watch.”
Sitting on a deck perched over Holywood’s 18th green, Denvir looks over at Tullin, who has known McIlroy’s family for 50-some-odd years. Tullin remembers watching Rory play junior competitions when the bag was taller than the boy, when he’d step to the tee and the whispers would begin. “Who’s this now? Oh, that’s Rory McIlroy.”
“We were heartbroken as well, yeah?” Tullin says, looking back at Denvir.
“Absolutely. Just stunned,” Denvir says, pausing, thinking, “Ten years now, since he’s won a major? Ten. Just incredible.”
“It is incredible.”
“2014, yeah? That’s just…“
“Crazy, isn’t it?”
These are the conversations that have replaced the parties at Holywood Golf Club. The lover’s lament, so to speak. It’s impossible to change the topic when there’s only one topic. So pints are poured and Rory is discussed. The keening of near-misses or summoning of old times. Eventually, inevitably, his face pops up on the TV screen and everyone stops.
The whole town is subscribed.
“Hi, I’m wondering if Stephen Moore is here?”
“Ah, s—,” the old man says, eyes pressed closed, hands atop the cold metal of a butcher’s display, “what’ve I done now?”
Meet the most popular man in Holywood. Moore was born here in 1965, took a job at Orrs at age 15, bought the shop years later, continued working, sold it a few years ago, and now shows up each Saturday, pulling on an apron, mainly so he can still see everyone, and so they can see him. Moore can not go more than two minutes without being interru…
“Hi, Tommy!” he hollers.
“Stephen!”
“You good?”
“I’m fine.”
“Good man.”
Moore was interviewed by the likes of ESPN and the Washington Post back in 2011, when Rory was on the rocket and the Open Championship was on its way to Royal Portrush, only 60 miles from Holywood.
“It was a phenomenon,” he remembers.
Moore went to school with Brian McIlroy, the youngest of Rory’s uncles, and worked at Orrs alongside Eva McIlroy, Rory’s grandmother. She drove a Volkswagen Beetle, but couldn’t park it. So she’d arrive at work, leave the VW in the middle of the street, and tell Young Stephen to go park it. Later, Moore’s sister married Colm McIlroy, another of Rory’s uncles.
Today, all the McIlroys still live in Holywood. Colm runs a pressure-washing business and plays golf out of HGC. Gerry and Rosie split time between Northern Ireland and the United States. When they’re in town, Gerry can be found each morning on the 4-mile stretch of beach from Seahill to Holywood. He likes to walk alone, Moore says.
“Down to earth, solid people,” he adds, waving to a passerby.
“Heyyy, Sam.”
“Hello, Stephen!”
“You get that thing sorted?”
“I did, I did.”
“Good, good. Cheers.”
Moore remembers both childhood Rory bouncing down High Street as a kid and, only a few years later, a freshly famous Rory drawing crowds and newspaper photographers when stopping for coffee. He couldn’t imagine such attention.
“Hi, Stephen!” a passing woman says.
“Hi, Annie! Go sit in your garden and enjoy this weather, would ya!”
Moore watched the U.S. Open at his house. A few mates. A few beers. They thought it was over as Rory teed off on 15. The boys damn near began celebrating.
“Two silly putts,” he says. “Everyone was heartbroken.”
It’s odd, like storms in one sea changing the currents upon another shore. Even though he’s not there — and hasn’t been here in at least a year or two — as Rory goes, so goes the Holywood. There’s the buildup to each major, that this will be the one. Then the letdown. McIlroy has 11 top-five finishes in the 37 majors since his last win, including three second-place finishes in the last three years. It didn’t seem like anything could be more wrenching than the near-miss at St. Andrews in 2022, but Pinehurst was somehow worse.
So here sits Holywood, waiting for time to change.
“I think it’d just be a relief, to tell you the truth — to just see ‘em get it off his back,” Moore says. “I think he’s just trying too hard sometimes. Who can blame ’em? He’s won loads of championships, but this major thing is just following him around.”
At The Maypole, a pub in Holywood’s town center, you’ll find things can begin to feel odd after 10 or 15 minutes. Then it hits you — the bar is full, but also quiet. Everyone is talking, but not shouting. No music is playing. No TV is on. A sign by the door reads: “In the interest of good conversation and serious drinking, please refrain from using mobile phones.”
This place is a free competition of ideas, and when it comes to Rory, everyone has an opinion.
One local philosopher, eyebrows raised toward the ceiling, slows his brogue to say McIlroy needs to stop speaking to the media and only worry about playing golf.
Others have their own varying thoughts, namely, the man is worth multiple hundreds of millions, so, yeah, it’s tough to feel too bad. “Poor Rory?” one said. “I don’t think so.”
But even those cynics want to see McIlroy win again, if only for a change of conversation.
Plenty in town are suspicious of an out-of-towner. Antennae are up, assuming questions about golf will lead to questions about Rory’s personal life, one month after he withdrew his petition to divorce wife Erica Stoll after a seven-year marriage. Seeing a notebook, plenty in Holywood kindly scooted away.
The instinct, of course, is to protect.
He is theirs, not ours.
Rory McIlroy’s major tournament winless streak extended to 37 at the 2024 U.S. Open. (Luke Walker / Getty Images)
Walking off the 18th green at Royal Troon on Monday, 21-year-old Tom McKibbin folded his arms, thinking about home. He grew up in Newtownabbey, across the Belfast Lough, about 12 miles from Holywood. Growing up, he spent his days playing on Rory’s old course, training in facilities installed by Rory and, after developing into an elite talent, answering constant questions about being The Next Rory.
McKibbin turned professional in April 2021 at age 18, just as Rory did. This year, he won the European Open in Germany — his first tournament championship on the DP World Tour. Cameras returned to Holywood to capture members’ reactions.
This week, McKibbin is appearing in his first Open Championship. He says he feels comfortable. A top-40 finish in last month’s U.S. Open — his first career major — was reassuring. Plus, he’s getting older and is out on his own more. While McKibbin lives at home with his parents in the summer, he now spends part of the calendar in Dubai and is eying an eventual move to the States — “hopefully someday soon.”
On a recent return trip home, he got a glimpse of how such success changes things.
“Suddenly a lot more people know you at home,” McKibbin says. “I guess that’s sort of what you sign up for.”
McKibbin is a product of what McIlroy means to Holywood. There’s been charitable work — both seen and unseen. There’s been loads of money made off his draw to the town. According to those at the club, he helped keep the place afloat during COVID-19 and single-handedly put €800,000 into clubhouse renovations. He pumped financing into an expanded junior program, thinking that, if every kid in the area wants to be Rory McIlroy, they should be able to practice where he played.
Part of the clubhouse renovations Rory paid for included the installation of a modern gym, one for him to use when in town, whenever he visits the massive property he owns. Though it’s been awhile, he’s been known to show up at the club in shorts and T-shirt, wearing earbuds, to get in a workout. “He’s totally normal when he’s here,” Tullin says. “Like he just wants to be normal.”
But that’s the hard part. The longer he’s gone, the harder it is to be normal.
“When you go home seldomly, it’s almost like you’re more of a novelty,” McIlroy said last week. “It’s sort of counterintuitive.”
Perhaps there needs to be a reason for a proper reunion.
And perhaps this could be it.
Stephen Moore says he played a round at Holywood with Colm McIlroy the day after the U.S. Open. The two smacked shots and recounted that impossible ending at Pinehurst. According to Stephen, Colm decided to fire off a text message to Rory. Something like, “Well, nephew, get ‘em the next time.”
The phone dinged back. Rory replied that the loss only made him more determined to win at Troon.
Wouldn’t that be something? After all this time? As of now, the plan is for the bar at Holywood Golf Club to stay open on Sunday. Maybe this is the one.
(Illustration: Dan Goldfarb / The Athletic; photos: Brian Lawless /PA Images, Luke Walker, Saype / Belfast Photo Festival)
Culture
In ‘Rocky Horror,’ Luke Evans Finds His Ballad of Sexual Liberation
There’s a Hollywood action star, standing in silhouette at the top of a creepy manor’s staircase, dressed in a corset and jockstrap, thighs fitted into fishnets and hair secured under a wig that could have been scalped from Charli XCX.
“I’m just a sweet transvestite,” the action star, Luke Evans, croons, suggestively caressing his nipples. “From Transsexual, Transylvania.”
Evans, 47, has taken on the role of Dr. Frank-N-Furter in “The Rocky Horror Show” on Broadway, which opened last month at Studio 54. He has lost almost 20 pounds since performances began at the end of March, he said, and he relies on a small can of oxygen to power through a production in which he barely leaves the stage. Every night, he grabs his blond dachshund, Lala, who waits in his dressing room, and returns to a rented apartment in Manhattan’s Chelsea neighborhood, covered in glitter. At one point, after Evans discovered glitter in her poop, Lala took a brief intermission from the theater.
“It’s mental,” Evans said of the demands of a Broadway show. He has been giving eight high-octane performances a week as a mad scientist who sees himself as a prophet of sexual liberation. It is a role made famous by Tim Curry in the 1975 film version. (Curry also performed in the original production in London in 1973, and the show’s subsequent runs in Los Angeles and New York.) About a week into joining the Broadway production of “Moulin Rouge! The Musical,” the rapper Megan Thee Stallion was hospitalized in March for exhaustion.
But the physical strain of running across the stage in patent leather boots with five-inch heels has garnered him a Tony nomination for best performance by a lead actor in a musical. It may also do wonders for how the world sees Evans. For the past two decades, Hollywood has frequently cast him as an action hero. “I was somebody who could drive a bus, or build a wall, or kill a dragon,” he said.
Well, it was a little more glamorous than that: He has starred in billion-dollar global blockbusters including the “Fast & Furious” franchise and “The Hobbit.” But it is no less confining for an actor who thinks he might have something more to offer audiences than pistol whips and fisticuffs.
A Belated Start
“My career started at a breakneck speed,” Evans told me one morning on the patio of his Chelsea hotel as Lala gently snored in his lap. “For about eight years, I felt like I didn’t breathe.”
The marathon began in 2010 when Evans began the transition from a career on the London stage to one in Hollywood as a dependable Adonis. He played the sun god Apollo in a campy 2010 remake of “Clash of the Titans,” and within the next four years, he earned a promotion in the Greek pantheon (playing Zeus in “The Immortals”), drove expensive cars (playing the villainous Owen Shaw in the “Fast & Furious” series), learned archery (playing Bard the Bowman in “The Hobbit” movie trilogy), and became a vampire (playing the title character in “Dracula Untold”). His career seemed to be hitting a peak in 2017 when he received positive reviews as the meathead Gaston in the live-action remake of Disney’s “Beauty and the Beast.”
These days, Evans is looking ahead to the next 10 years. He has released music, built a clothing brand with his boyfriend, Fran Tomas, and developed properties across Europe, including in the places where he splits his time, Lisbon and Ibiza. He talks often about refusing to dwell on the past, but the past certainly informs his decisions.
Becoming famous in his early 30s left him feeling that he had limited time to make his mark in Hollywood. “This business is all about objectivity,” Evans said. But even as his star ascended, he was looking over his shoulder at the younger stars of the “Twilight” films.
“They were porcelain and perfect. They glowed,” the actor said. “I would never have been cast. Maybe as some haggard, old half-wolf.”
Even a decade later, nobody would describe Evans as haggard. The director of the “Rocky Horror” revival, Sam Pinkleton, prefers to think of him as a “shape-shifter.”
“He contains multitudes,” Pinkleton said. “One of those is a giant dude who can kick your ass, and the next minute he is kitty-cat purr.”
“I remember Luke talking a lot about how he wanted to transform with this role,” the director added, saying that Evans was considered for the part early in the casting process. “He realized that he could do things with this role that he was never allowed to do.”
Evans now has a chance to redefine himself in portraying Frank-N-Furter. And knowing more about his back story is likely to enrich the performance that audiences see onstage.
In his 2024 memoir, “Boy From the Valleys: My Unexpected Journey,” Evans describes being born in Wales on Easter Sunday and being raised a Jehovah’s Witness. His father was a bricklayer and his mother a homemaker; the family lived in a working-class neighborhood. Because of the strictures of the family’s religion, Evans was frequently bullied as a youngster and often felt excluded from typical childhood pleasures: Jehovah’s Witnesses do not celebrate Christmas or birthdays, so there was no singing carols or going to birthday parties for Evans. He described himself as having been exceedingly thin at the time, and struggling with his sexuality.
“Looking back, I didn’t stand a chance,” he wrote.
But in his memoir, Evans is reluctant to blame others for his own hardships. One of the rare exceptions is discussing a neighbor, whom he blames for the death of one of his childhood cats, Tigger. It appeared to have been shot with a lead pellet. “Anyway, I own his house now,” Evans wrote. “And any animal can come and go as they please.” (Evans told me he bought it as a rental property to provide extra income for his parents.)
At 16, Evans left home and started dating an older man. He eventually moved to London with a boyfriend who encouraged him to pursue a career in theater and he went on to build a successful résumé in the West End through the 2000s, starring in productions like “Taboo,” “Avenue Q” and “Rent.” His parents gradually accepted his sexuality, though that came at the cost of being shunned by their community of Jehovah’s Witnesses.
“It took a long time, a lot of conversations and a lot of patience from both sides for us to understand we were on different journeys,” Evans said. “It was not easy because the religion wanted my parents to cut me off, to have nothing to do with me.”
He does not believe in God anymore. “It was something I believe was created by man, and, over centuries, it became a way to control the masses.” But about five years ago, he did get a tattoo on his left thigh. You can see just a glimmer of it through his fishnets in “Rocky Horror.” It’s a quote from Corinthians: “Love bears all things, believes all things, hopes all things, endures all things. Love never fails.” For Evans, it’s the story of how, in his family, love won over everything else.
‘Absolute Pleasure’
Questions about his sexuality came up during the height of his movie career. “I wasn’t hiding, even then,” Evans told me, acknowledging that he may have lost roles because he refused to hide. “I had to do it,” he explained. “I had to walk so that the future generations of gay actors could run.”
“I play straight more than I play gay,” he said. “Why the hell not? I’m acting. I can do anything.”
Evans prefers to think of himself as someone who drives toward the future without dwelling much on the past. It’s a trait that he recognizes in Frank-N-Furter, who hurtles dangerously toward a utopian vision of “absolute pleasure.”
“The past is important, of course, but you can’t read too much into the past,” Evans told me.
“People keep trying,” I said.
“But the present and the future is something you can have a say in, if you so choose,” the actor said.
“Is that a survivor’s mentality?” I asked.
“Possibly,” Evans laughed. “When I was younger and I had to leave home, I had to stop thinking about my past, because my past didn’t want to have anything to do with me. In fact, my past sort of stopped when I left home and left the religion. I lost everyone, all my friends.”
A similar psychology runs through the actor’s performance as Frank-N-Furter, a drag queen’s answer to Victor Frankenstein — if the good doctor had a penchant for sleeping with his monsters.
“There is joy but also danger in Frank,” Evans explained, “because he is a speeding train.”
If the Jehovah’s Witnesses demanded a life of invisibility, and Hollywood demanded a life of rigid masculinity, then Broadway was offering Evans a path to total exposure. It was as Frank-N-Furter says: “Don’t dream it. Be it.”
By the time Evans reaches the show’s hedonistic peak, the parallels between the actor and the character become impossible to ignore. There is a joy in seeing Evans — once a boy who could not celebrate his own birthday — now presiding over the birth of Rocky, the musical’s golden Adonis. He embodies the doctor’s lustful jinx as a man making up for lost time, delivering a version of the character whose occasional glimmers of warmth are singed with rage and regret — two emotions that Evans has spent decades trying to evade in his own life.
“There is a menace to him,” Evans observed of his character, “that sits just under the surface of glamour and charisma. But there is also something very naughty, powerful and subversive.”
Culture
Book Review: ‘From Life Itself,’ by Suzy Hansen
Admittedly, Americans seem to have a soft spot for books about faraway places that end up reminding them of themselves. Hansen’s, though, is in many ways too rich and complex to provide an easy parallel. Erdogan often gets lumped in with other 21st-century strongmen, but on migration, for example, he has taken an idiosyncratic tack. “Unlike Trump and Orban,” Hansen writes, referring to Hungary’s then prime minister, “Erdogan had seen the Syrians as part of his vision for a greater Muslim Turkey, rather than brown invaders of a white Western country.” His approach to immigration also allowed him to play a kind of power broker on the world stage, collecting European Union money to keep the Syrians out of Europe.
Much of what Hansen found in Karagumruk surprised her, too. Residents would complain relentlessly about their new Syrian neighbors while providing them with generous aid. She spoke with countless Karagumruk residents while necessarily directing our attention to a few. Ismail, the longtime muhtar, or neighborhood councilman, speaks lovingly of the city’s old cosmopolitanism and happens to be part of the same midcentury generation as Erdogan. Ebru, a real estate agent, resents the Syrians for getting European Union money and tries to unseat Ismail. Huseyin, a shop owner, defends his Syrian neighbors from a violent mob. Murat, an “Islamic fundamentalist barber,” pledges his fealty to Erdogan, whom he calls “the most democratic person in the world.”
Erdogan, for his part, emerges from this account as a ruthless autocrat who rose to power through undeniable popular support. He was a poor boy turned soccer player turned mayor of Istanbul. In his first several years as Turkey’s prime minister, he improved the health care system and civil infrastructure, bringing measurable benefits to people’s lives. But then came the corruption and oppression, and the gutting of state institutions, where loyalty was now favored over expertise.
In February 2023, when massive earthquakes tore through Turkey, killing more than 50,000 people, the cost of such depredations was laid bare: “Erdogan had so centralized power around his person until he rendered Turkey a country that no longer worked.”
Still, he won the election that was held later that year, with 52 percent of the vote. Hansen sees some hope at the edges: principled people who navigate their way around obstacles, finding the seams in the armor, “whatever pathways within institutions hadn’t yet been obstructed, whatever avenues of freedom remained open to them.” But improvisation doesn’t add up to an effective opposition.
Culture
Book Review: ‘Prestige Drama,’ by Seamas O’Reilly
PRESTIGE DRAMA, by Séamas O’Reilly
In recent years, a vibrant stream of writing has emerged from Northern Ireland concerning not just the Troubles, but also the lives of those who have come of age in its wake. Novels such as Louise Kennedy’s “Trespasses” (2022) and Michael Magee’s “Close to Home” (2023) have been greeted with much critical acclaim and commercial success. “Trespasses” has already been adapted for TV, and a mini-series based on “Close to Home” began filming this year.
Now comes the novel “Prestige Drama,” a boisterous and affectionate, if sometimes thin and too-easy, sendup of this flourishing era of post-Troubles Northern Irish writing. The book, by the journalist, memoirist and Derry native Séamas O’Reilly, begins with a disappearance. An American actress named Monica Logue, who arrived in Derry to research her role in the upcoming TV show “Dead City,” has gone missing.
This mystery has understandably discombobulated the show’s creator, Diarmuid Walsh, though he is less concerned for the welfare of his leading lady than for the fate of “Dead City,” a series set during the Troubles and “inspired” by the decades-old killing of a Catholic teenager by British soldiers. A Derry-born drinker and failed novelist, Walsh sees “Dead City” as his final shot at success and belated revenge against those local residents who, over the years, have mocked his literary pretensions.
Despite Monica’s disappearance, the production continues unabated; each chapter is a first-person monologue from a person connected in some way to “Dead City.” We meet the murdered boy’s aged, still-grieving mother; his childhood friend; a former I.R.A. Provo eager to pitch his services as a production consultant; and an ambitious Gen Z actor too young to remember 9/11, never mind the Troubles.
What unites the characters is an acute awareness of the past’s vulnerability to revisionist simplification, of the temptation for even well-intentioned storytellers (and Walsh is certainly not that) to take all the jagged complexities and contradictions of history and sand them down until they fit into the templates and tropes of a given medium — in this case the glossy aesthetics of “prestige” TV.
As one character puts it: “Every film I ever seen about any place or any war was probably filled with stuff the people from there would hate, things they couldn’t stand, and is this what we’re making for ourselves?”
Though there are scenes that touch on the darkest matter of the Troubles, the prevailing mode is comic, breezy. “Prestige Drama” is designed to make you laugh, a book of voices that’s at its best when showcasing the Derry residents’ lovingly scornful turns of phrase: “One look at that fella and you’d know he couldn’t crumple a paper bag with both hands.”
The book’s form can occasionally leave “Prestige Drama” feeling rudderless. O’Reilly relegates the missing-actress story line to the back burner, and this lack of an active plot, coupled with the one-and-done monologue format — besides Walsh, who appears regularly — means the chapters take on a certain structural sameness: a potted personal history interwoven with reflections on the larger legacy of the Troubles, as well as any qualms (or lack thereof) concerning “Dead City.”
Still, the novel has charm and punch enough to carry it through, and a steely determination not to take the seriousness of it all too seriously: men with guns, dead children and missing women. It’s only the nightmare of history. It’s only TV.
PRESTIGE DRAMA | By Séamas O’Reilly | Cardinal | 173 pp. | $28
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Miami, FL3 hours agoWhat we learned about the pecking order after Miami
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Boston, MA3 hours agoI was ready to hate the new Copley Square Park. Then I visited it. – The Boston Globe