Rathfarnham Theatre Group


The RTG Spring Production was:

On Raftery’s Hill by Marina Carr


In Raftery’s Hill, Marina Carr delves deep into the rotten core of a dysfunctional family living and existing in a community that turns a blind eye to the chaos within.  

Red Raftery, a domineering patriarch, lives with his son, two daughters and his senile mother on Raftery’s Hill.  The 300 acres of fertile land surrounding their farmhouse is strewn with animal carcasses, reflecting the sense of desolation and decay that abounds within this family unit.

Glimpses of hope appear in light and comic moments, but the main themes of physical and emotional abuse prevail. 

The compelling and imaginative writing in this powerful play is brought to life by terrific performances from a strong cast.  Unlike some of Marina Carr’s previous work, Raftery’s Hill is a more naturalistic production.  The thought-provoking nature of the themes addressed will leave audiences contemplating a society in which such behaviour could, and still does, exist.

‘A striking and pummelling production’ The Irish Times (Abbey Production) May 2018

‘Theatrical writing of the highest order’ The Mail on Sunday May 2018.


Auditions were held on Tues 14th and Wed 15th January in St Mary's BNS from 8pm.

The first rehearsals took place on Thurs 16th Jan in the school.

New production dates will be posted here.



The RTG Spring Production (Tues 7 - Sat 11 April) in The Mill Theatre was scheduled to be:

On Raftery's Hill by Marina Carr.

Postponed due to Covid-19

Past Productions

The Dead December 2019

Pearse 2019 May 2019

The Salvage Shop April 2019
Plaza Suite November 2018
The Night Alive May 2018
Women's Works April and August 2018
Henry and Alice April and June 2018
And Then There Were None November/December 2017
Two Plays June 2017
The Weir May 2017
Juno and the Paycock January 2017
Aspects of the Rising June 2016
Love in the Title April 2016
Big Maggie November 2015
Da May 2015
Inspector Drake and the Perfekt Crime March 2015
Joining the Club January 2015
Shaw and Synge {A Village Wooing and The Tinkers Wedding} at St. Enda's November 2014
The Seafarer May 2014
Pack of Lies November 2013
Nutgrove Arts Fest October 2013
Rathfarnham Revue May 2013
One Flew Over the Cuckoo's Nest March 2013
She Stoops to Conquer November 2012
The Importance of Being Earnest May 2012
Joyce at St. Endas April 2012
21st Birthday Extravaganza February 2012
A Skull in Connemara November 2011
Nutgrove Arts Fest September 2011
Don't Dress for Dinner March 2011
Translations November 2010
Dancing at Lughnasa May 2010
Living Quarters January 2010
Yalta Game ¦ Ruby of Elsinore June 2009
Blithe Spirit May 2009
Death of a Salesman November 2008
Eden May 2008
The Playboy of the Western World January 2008
A Night of Drama October 2007
Philadelphia, Here I Come! April 2007
Ghost Writer November 2006
Enchanted April - May 2006
The Way You Look Tonight February 2006
The Field May 2005
All My Sons November 2004
The Mai April 2004
Private Lives December 2003
Red Roses and Petrol May 2003
The Beauty Queen of Leenan January 2003
The Norman Conquests May 2002
A Life November 2001
Hedda Gabler  April 2001
Happy Birthday, Dear Alice January 2001
The Wilde Night December 2000
Ill Met by Moonlight April 2000
The Plough and the Stars O'Casey 1999/2000
Play On May 1999
Sive January 1999
The Gingerbread Lady September 1998
Philadelphia, Here I Come! May 1998
The House of Bernada Alba January 1998
Someone Who'll Watch Over Me September 1997
Dancing at Lughnasa May 1997
Three One Act Plays November 1996
Chapter Two September 1996
The Importance of Being Earnest May 1996
The Loves of Cass Maguire November 1995
Blithe Spirit May 1995
The Righteous are Bold November 1994
Juno and the Paycock December 1993
The Odd Couple  May 1993
Big Maggie December 1992
Drama at Inish April 1992
Three One Act Plays December 1991
The Year of the Hiker May 1991



Date: November 2010


Director: Carmel Cullen



Translations is a three-act play by Irish playwright Brian Friel written in 1980. It is set in Baile Beag (Ballybeg), a small village at the heart of 19th century agricultural Ireland. Friel has said that Translations is "a play about language and only about language", but it deals with a wide range of issues, stretching from language and communication to Irish history and cultural imperialism. Friel responds strongly to both political and language questions in modern-day Northern Ireland. He said that his play "should have been written in Irish" but, despite this fact, he crafted carefully the verbal action in English which makes the dynamics of the play come alive, and brings its political questions into true focus.

Baile Beag ("Smalltown") is a fictional village, created by Friel as a setting for several of his plays, although such a placename does exist: as a working class suburb of Waterford, a village in County Wicklow and a village in County Down (all in Ireland).




The play is set in the quiet community of Baile Beag (later anglicised to Ballybeg), in County Donegal, Ireland in 1833. Many of the inhabitants have little experience of the world outside the village. In spite of this, tales about Greek goddesses are as commonplace as those about the potato crops, and, besides Irish, Latin and Greek are spoken in the local hedge school. Friel uses language as a tool to highlight the problems of communication — lingual, cultural, and generational. In the world of the play, the characters, both Irish and English, "speak" their respective languages, but in actuality English is predominantly spoken. This allows the audience to understand all the languages, as if a translator were provided. However, onstage the characters cannot comprehend each other. This is due to lack of compromise from both parties, the English and Irish, to learn the others' language, a metaphor for the wider barrier that is between the two parties.[4]

The action begins with Owen (mistakenly pronounced as Roland by his British counterparts), younger son of the alcoholic schoolmaster Hugh and brother to lame aspiring teacher Manus, returning home after six years away in Dublin. With him are Captain Lancey, a middle-aged, pragmatic cartographer, and Lieutenant Yolland, a young, idealistic and romantic orthographer, both working on the six-inch-to-the-mile map-survey of Ireland for the Ordnance Survey. Owen acts as a translator and go-between for the British and Irish.

Yolland and Owen work to translate local placenames into English for purposes of the map: Druim Dubh becomes Dromduff and Poll na gCaorach becomes Poolkerry. While Owen has no qualms about anglicising the names of places that form part of his heritage, Yolland, who has fallen in love with Ireland, is unhappy with what he perceives as a destruction of Irish culture and language.

A love triangle between Yolland, Manus, and a local woman, Máire, complicates matters. Yolland and Máire manage to show their feelings for each other despite the fact that Yolland speaks only English and Máire only Irish. Manus, however, had been hoping to marry Máire, and is infuriated by their blossoming relationship. When he finds out about a kiss between the two he sets out to attack Yolland, but in the end cannot bring himself to do it.

Unfortunately, Yolland goes missing overnight (it is hinted that he has been attacked, or worse, by the elusive armed resistance in the form of the Donnelly twins), and Manus flees because his heart has been broken but it is made obvious that the English soldiers will see his disappearance as guilt. It is suggested that Manus will be killed as he is lame and the English will catch up with him. Máire is in denial about Yolland's disappearance and remains convinced that he will return unharmed. The British soldiers, forming a search party, rampage across Baile Beag, and Captain Lancey threatens first to shoot all livestock then to evict and destroy the houses if Yolland is not found in twenty-four hours. Owen then realizes what he should do and leaves to join the resistance. The play ends ambiguously, with the schoolmaster Hugh consoling himself by reciting the opening of the Aeneid, which tells of the impermanence of conquests. Unfortunately, Hugh's stumbling attempts at recitation are evidence that our memory is also impermanent.

Friel's play tells of the current struggle between Britain and Ireland during this turbulent time. The play focuses mainly on (mis)communication and language to tell of the desperate situation between these two countries with an unsure and questionable outcome.





Manus                                  Eugene Duffy

Sarah                                     Maria Rath

Jimmy Jack                         Darach Connolly

Maire                                    Emma Coogan

Doalty                                   Gerry McMahon

Bridget                                 Laura Pomphrett

Hugh                                     Eamonn Cullen

Captain Lancey                 Noel Young

Lieutenant Yolland         Arthur Williams


Don't Dress for Dinner

Date: 17th August 2010

Producer: Phil Fitzpatrick

Director: Anne O'Connell


In a renovated French farmhouse about a two-hour drive from Paris, Bernard is hoping to pack his wife, Jacqueline, away to her mother's for the weekend, in hopes he can romance his mistress, Suzanne, a Parisian model and actress. As an alibi, Bernard has hired a Cordon Bleu-level cook, Suzette, and invited his friend Robert to dinner.

While Bernard is upstairs, the telephone rings. Jacqueline answers; it's the Bon Appetit catering agency confirming Suzette is on her way. Then Robert calls and Jacqueline again answers. He tells Jacqueline he is spending the weekend, a fact unknown to her. As Robert and Jacqueline talk on the phone, it becomes obvious that they are having an affair.



Jacqueline tells Bernard her mother has the flu and she has cancelled their visit. Bernard panics, and when Robert arrives, he tells his friend about his affair with Suzanne. Since she is arriving at any minute, Bernard convinces Robert to tell Jacqueline that "Suzy" is his girlfriend.

While Bernard and Jacqueline are out buying groceries, Suzy arrives -- it's the caterer, not the mistress. Robert doesn't realize it and introduces Suzette as his girlfriend when Bernard and Jacqueline return. Bernard is angry because of the mix-up, and Jacqueline feels betrayed because she thought she was Robert's only mistress.

Bernard and Robert secretly talk to Suzette, and for 400 francs she agrees to play Robert's mistress. When Suzanne arrives, alerted to the fact that she's now the cook. She's outraged but Suzanne agrees to play her part. When Jacqueline confronts Robert about Suzette, he tells Jacqueline that Suzette is his niece.

Act 2 begins with Robert and Suzette in the parlor talking and they depart. Jacqueline voices her frustration of Bernard's affair, which she found out about from a note signed 'Suzy' and a receipt for a Chanel coat in Bernard's jacket pocket. The coat was a gift for Bernard's mistress. Since the coat was made out to be Suzette's Jacqueline is sure Bernard's affair is with Suzette.

Suzanne thinks so as well; she and Jacqueline exact revenge on Robert and Suzette by pouring ice on them. Suzanne was satisfied but Jacqueline sprays Bernard with a soda siphon. More hijinks are brought out and confusion about Suzette being Robert's niece is brought to light.





Bernard (Jacqueline's husband)
Jacqueline (Bernard's wife and Robert's lover)
Robert (Bernard's friend and Jacqueline's lover)
Suzette (the cook)
Suzanne (Bernard's mistress)
George (Suzette's husband)




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