The music & sound effects in the production are original, composed and performed live by Martin Stillion. Mr. Stillion also uses three traditional, historical pieces – aires about Granuaile: “Grace O'Malley", "Granu Waile” and "Óró sé do Bheatha Abhaile".

There is a wonderful biography of the woman, Granuaile: Ireland's Pirate Queen, by Irish author, Anne Chambers. As it turns out, Ms. Chambers and Ms. Lyons grandfathers were bosom friends. Because the Irish chroniclers of her day only recorded the lives of men, most of the historical records about Granuaile come from the English court. The concept for this production, then, is the “book” of her story come to life, from the point of view of Granuaile’s memory flashing back through time.

Running Time ::
Two hours (1st act is 65 minutes, 2nd act 45 minutes + 1 intermission); because of the episodic nature of the play, there is a school assembly length version that runs 45 minutes and explores one theme of the full-length play. 

Technical Requirements ::
The play is Epic Theatre in its style, episodic in its presentation and uses projections in a Brechtian form.  The show can be mounted using fully-designed set: multi-level, flexible platforms with mast, sail as scrim and projections to illustrate timeline and scene titles.  
The show can also be done very minimalistically, if necessary, with a few simple stock  platforms to provide levels.  Lighting requirements include warm and cool washes which can combine for brighter "daytime" scenes, 4-6 tight specials, and one or two color back/top light when possible.  There are no sound requirements, except live music.  Projections, costume and hand props come with the production. 

Please visit our Video Clips and explore the site for Photos, Music samples, other Reviews & Interviews.  

Production Concept Information ::

From Anne Chambers’ Biography :: Granuaile, Ireland's Pirate Queen ::
"Thus, the extraordinary life of Granuaile ends as it begins -- shrouded in uncertainty. The exact date of her death, as of her birth, is uncertain. While denied a place in the annals and histories of Ireland, it is the swirls and flourishes on the parchment manuscripts of the 16th century English state papers, the letters, despatches and memorabilia of the Tudor conquest of Ireland, that have preserved for posterity the tantalising character and career of Granuaile and the impact she made on that traumatic era. These relics, now brittle and faded with age, challenge our predisposed sense of convention, our assumptions regarding what is possible, and rip apart the shallow boundaries that society tends to impose on women - boundaries which Granuaile, by 'overstepping the part of womanhood', dared to breach. Above all, they allow us a glimpse of one of the greatest survivors of them all."

From Playwright, Molly Lyons ::
Granuaile seems to have vanished into the mists of the western seas at the end of her days. She handed her navy and lands over to her son & disappeared when Elizabeth's army invaded Ireland. She was sighted once by an English ship, who saw an ancient woman at the helm of an O'Malley galley that .... disappeared & could not be followed. At some point, she died and is believed to be buried in a grave on Clare Island, unmarked but above it the O'Malley crest in stone. It is that time between passing the mantle to her son and Granuaile's unnoticed death that, for me, was the beginning and end of my story; in this play, a prologue and epilogue that frame her own fleeting memories - flashes in her imagination, swirls and flourishes of papers, letters, relics - the chapters of a life come to a close by the sea.

If you are interested in a performance of the show, please contact us. 

Other Related Information :: 
Research: Anne Chambers' book, Granuaile, Ireland's Pirate Queen published by Wolfhound Press.
The short version of her story can be found on our Granuaile page or at the site below. 
Official Granuaile Website:
http://www.omalley-clan.org/uow/omalley_web/granuaile.htm

The History of the Creation of the Play - from Molly Lyons ::
As a descendent of an Irish emigrant, I've journeyed to my grandfather's homeland many times. With each visit, I felt a tug in my heart, a connection, the feeling of history rising up from the green hills and joy in its people - especially my relatives. As a student, I have always been drawn to Irish literature and history to further connect me with the land of my ancestors.

As an international theatre & art student (art history minor) in college, I saw some of the most glorious theatre in the world while visiting Ireland. As an actor, I've played some Irish roles - an indentured servant, an IRA terrorist, a mad poetess, an abused wife of a drunken poet. I have always wanted to sink my teeth into a role that captured the history I loved: kings & queens, warriors & bards, trade routes and sea battles. The pre-Cromwellian Ireland of myth, mystery and maybe some magic. I had a hard time finding that perfect role.

For about a decade, I stopped acting "forever" and focused on my teaching, directing and writing work. When I was in the process of reviving my acting career, I began to take workshops and, at the same time, read some Irish stories. My aunt Eileen Lyons Hume, took a trip to Ireland and returned with a book called Granuaile by Anne Chambers, about an Irish queen from the western region of our ancestors, which she handed to me and said, "This would make a great play." I began to read it just before going to NY to participate in an Improv/Writing/Acting retreat produced by Artistic New Directions and my dear colleague, Kristine Niven. The life of Granuaile fascinated me and I brought the book with me on the plane to NY. While at the retreat, I began to tinker with the character in the various workshops offered, all the while taping my work on a hand-held recorder. Toward the end of the week, after several exercises designed to release character, one of my teachers, Gary Austin, suggested that I do a monologue on any part of Granuaile's life. The piece that came out at the end of this magical week of joyful play, has become the core monologue of A Most Notorious Woman. I was to return to Artistic New Directions for more retreat work and, eventually, was invited to participate in a Works-in-Progress festival of new works at the John Houseman Studio 2 theatre in NYC, produced by Kristine Niven. I began to showcase bits and pieces of the play as I wrote, wrote, wrote as much as I possibly could.

I hit an especially strong & prolific period of writing when I broke my fibula in two places and had surgery to implant some pins, an 8" metal rod & screws permanently into my leg. Being confined to first a wheelchair and then just plain sitting for a long period of time, was, ultimately, a God-send in terms of the creative flow of energy.

My writing process was influenced by the improvisational tools I learned from various teachers, including: Gary Austin, Michael Gellman and Jeffrey Sweet. I would start the hand-held recorder and improvise, using a wide variety of exercises, transcribe EVERYTHING that came out of my mouth into the computer, then edit. The editing has been the hardest part and it continues after every run of the show. Sometimes, cutting phrases, characters or whole monologues, feels like cutting off a finger. I believe that somewhere upwards of 50 pages of writing have been excised from the final product. OUCH. I am thankful that there is so much fascinating inspiration & information - be it legend or fact - on Granuaile.

One day as I was sitting in the wheel chair and really looked at the front pages of the book that had been my inspiration. Anne Chambers dedicated the book to the memory of her grandfather, a man named "James Cruise". I remembered that my grandfather's best friend had the name "Cruise". I called my Mom on the phone and said, "Isn't that funny? Pop's friend was called Cruise." Mom said, "That's him." I asked, "Him? The same man, you mean?" She said, "Yes, that's Pop's best friend." "WHY DIDN'T YOU EVER TELL ME?" "I don't know, I figured you'd know that."  I spoke to Anne Chambers on the phone and ... well, you can read about that a bit farther on.  

Also, in the front of Anne's book, I finally read that Shaun Davey composed a suite called, Granuaile, and I purchased that CD.  I inundated my ears with ancient Celtic music of harp or whatever I could find, and had it playing all the while when improvising, writing or editing.

I knew from the first germ of a concept that I wanted music in the show: live, improvised music performed by an artist who had theatrical experience. When colleague Martin Stillion and his wife, Sarah, moved back to Seattle from LA, I knew I had my man!  Martin has experience with Celtic music and had worked in many theatrical productions.  We met, talked, brain-stormed and began to rehearse. Martin, being the diligent fellow that he is, came to rehearsals with piles of books and sheet music of ancient songs. One evening, as we stumbled over finding the "right" piece, I suggested, "Martin, play what you feel." He asked me to begin the monologue again, he began to improvise. By now, the greater majority of the show is original composition by Martin.  One of my favorite pieces to perform with him is the Nightmare scene in prison where Granuaile remembers a murder she committed, killing the killers of her lover. He and I must work together; listen carefully and watch each other - me with my mind's eye as I cannot look at him - as we threaten, stalk, stab, slice, and ultimately dump overboard the shadow killers of Hugh de Lacey.  Men who exist only in the memory of Granuaile and the imaginations of Martin and myself.  It's a joy to play.  Please see PRESS for a reviewer's description of Martin's "musical acting".

Eventually, the show has been performed - wholly or in part - in NY with Artistic New Directions, in Seattle with Excelsior! Stage in their Works-in-Progress/New Works series; the International Conference for Irish Studies, the American Collegiate Theatre Festival Regionals, Seattle's Irish Week Festival in 2000 & 2001 and had its world premiere at Bas Bleu Theatre Company in October of 2000.  Due to the tremendous response, Bas Bleu revived the show in its summer festival of "hits" in August of 2001. A huge dream come true, was our Ireland/October 2001 tour.  A cousin, John Lyons, and family saw a workshop performance of the play in August of 2000, while visiting Seattle.  He and another cousin, Pat Higgins, arranged the towns and dates of our Ireland tour.  During that visit and the subsequent performances, which were magical beyond belief, we met Philip & Anna O'Malley-Dunlop, direct descendents of Granuaile.  They graciously invited us to their home and we have corresponded since that time.  Philip is now the clan chieftain and has invited us to invade the O'Malley Rally - international clan gathering in June of 2003.  We look forward to returning and performing for Granuaile's descendents and for an extended run in two towns at the heart of O'Malley country - Wesport and Clare Island - in August of 2003.  If I don't return stateside after that, you can know that the magic of Ireland, the glory of touring there, the satisfaction of walking amidst the stones, grasses and sands of Granuaile's castles, islands, and coastline, the fearful thrill of performing this well-known historical figure in her homeland and being able to visit with all of Granuaile's relatives, as well as my own, has all of it swept me away. We continue to post the towns, dates and places on this website as they are confirmed. You can visit TOUR DATES to find out about other bookings, as well.

We enjoyed a sold-out Canadian premiere of the play in January & February of 2002 at Pacific Theatre in Vancouver, BC.  We had a wonderful preview article written by Catholine Butler of The Celtic Connection, which I am sure was the reason we sold-out in Vancouver.  (She gave us a grand review as well!)

During the development of the play, I have received a great deal of help and support on this project, see SPECIAL THANKS, so while the description may be "one woman show", it has been a collaborative effort all along. Support that has meant a great deal includes: Chris Anderson and my family for which I have no words; the faith of my dear friend Maria Gleeson Campbell who has never stopped believing in this project and my ability to pull it off; the audience participation in the development of the show.  My cousin Pat Higgins made a tape recording of all the names, places and certain phrases in Irish/Gaelic so I could pronounce them, well, we hope accurately. I wanted an old sound, not an Irish "dialect", which is merely an accent of English, but a musical, older, Gaelic sound.  I have received gifts which are onstage with me such as: costume pieces sewn by my Mom, jewelry from my sister-in-law Debbie and my friend Louise, a carved box from my friend Joyce, a pin from my long-time friend Libby, fabric for shawls from Aunt Mil, Mom and sisters Mo & Gail, painting Celtic trim work on said shawls from Kate & Betty, a Bodhran drum leant to me from nephew Steve, a big wooden candle holder from student Betty, a sword from mentor Bill, a dagger from Kay & Michael, and more.  One lovely gift was from my students and colleagues at our annual winter acting retreat which used to be held on Orcas Island. They found me a driftwood staff to use in the show.  All week at the retreat, the teachers and students held it, blessed it, passed it along, walked with it, hummed vocal warm-ups into it, and at the end of the week presented it to me by the fire with an improvised poem.

Some of my acting students came in to improvise with me with coach, Christianne Hauber, so we could better shape scenes, stage movement and my reactions to the characters who live in my imagination.  Their work goes with me always into performances.  

Playing a character from the age eight into her seventies, presents its challenges.  To that end, I have also received the great gift of inspired coaching from acting, movement and voice teachers, including: Carol Fox Prescott, Christianne Hauber, Rob O'Neill and Kimberly White.  My director is now Steve Scott, Associate Producer of the Goodman Theatre in Chicago and faculty member of Green Wood Studio's annual winter retreat. 

I feel, in a way, that I have had countless gifts throughout my lifetime that have prepared me for this play.  I remember the gift of stories from my grandfather and somewhere there is a photo of me at about 4 years old, sitting on his lap listening to him read an Irish one on St. Paddy's Day.  The play itself is my biggest gift.  I have felt that it was something which moved through me, the creative spirit which flows through all artists, and at this time I was blessed to be the vessel for this story.  I feel that Granuaile and her story have changed me as a person and as an artist. 

When talking to Anne Chambers on the phone, I asked, "Isn't it odd, Anne, that you and I would both be so fascinated by this woman who lived over 400 years ago, that we would write these projects and that we would discover our connections with one another. Isn't that odd?" Anne replied, "Is it, Molly, is it odd?"

O'Malley Rally Performance :: June 2003, Hawthorne Lodge, Castlebar, County Mayo, Ireland

Escorted into the property with the clan pipers playing Óró sé do Bheatha Abhaile, the wind blowing, Croagh Patrick looming in the distance, Molly Lyons felt the protective and emboldening presence of Granuaile's spirit as she wondered if these folks would embrace her or kill her for attempting to portray their beloved queen.  Realizing she was the only one with a weapon in hand, she demanded the presence of the chieftain. 

Unbeknownst to Philip & Anna, Molly had written a new monologue, especially for the occasion, calling for an awareness of the legacy of the O'Malleys and the spiritual & historical importance of the passing of the mantle.  Molly was thrilled & moved to bring tears to Philip's eyes when she handed him the necklace she wears in the play, a prop used to reveal the death of Granuaile's father and the passing of his mantle to her. 

Molly recalls it one of the great privileges of her life and, certainly, a performing highlight that was transcendent.  Anna O'Malley Dunlop sited the afternoon as one of Fata Morgana, indeed, we felt quite moved through time.  At the rest of the weekend's festivities of the O'Malley Rally, Molly felt most definitely embraced by these fine folk.  Her Irish family wondered if she would take on O'Malley, after Lyons, as another name! 

Philip & Anna O'Malley Dunlop write:
The return of Granuaile to her faithful followers!

As Members of the O’Malley Clan celebrated the 50th Jubilee of their Clan Rally, the Pirate Queen paid a surprise visit at the special request of the Chieftain, Philip O’Malley Dunlop.

Clanspeople watched in amazement as she towered high above them on the balcony of Hawthorn Lodge, home of her descendants, and movingly declaimed passages from her life and times.

For all who witnessed this unique and unforgettable occasion, Molly Lyons, acclaimed international actress WAS Granuaile.  So complete was the illusion that many listened to her with tears in their eyes.

ORÓ ! SÉ DO BHEATHA ‘BHAILE!  Says Chieftain Philip to Granuaile and to Molly, two most notorious women for whom a place will always be set at our table

To read Molly Lyons' full journal of her experience at the O'Malley Rally, click here. 

If you are interested in a performance of the show, please contact us.