Róise Goan, artistic director of the Dublin Fringe Festival, talks about her recent appointment to the board of the Abbey Theatre. She talks to EOIN BUTLER
Your CV includes credits as an actor, playwright, director and producer. You were obviously immersed in the world of theatre at a young age.
Yes, my family background is artistic, although more on the musical side. When I was 10, I appeared in a production of An Fear Bréige at the Project Arts Centre. That’s kind of how I accessed the arts for the first time and I was immediately bitten by the bug. I studied Drama in Trinity College and have been involved in youth theatre in Dublin and Galway ever since.
What does your role as artistic director of the Dublin Fringe Festival involve?
Having worked in theatre in various capacities, what’s great about being artistic director is that you get to combine all of those various skills. You’re at the centre of a conversation between artists and audiences over what’s important in the city right now. Being able to support artists in realising their vision is really exciting.
You’ve been in the role for almost three years now. Are there productions you’ve been particularly proud of?
It’s very difficult to single out one person or project. It was a thrill to work with visual artist Fergal McCarthy on Liffeytown last year. That was an installation comprising 11 green and red Monopoly houses installed on the Liffey. It was a way of drawing playful attention to the roots of our current financial crisis: our national obsession with property. Another highlight was Heroin by Grace Dyas and TheatreClub. To see work that is truly innovative like that reaching audiences in such a unique way was really exciting.
When the incoming government decides to examine funding for the arts, there will most likely be a red pen hovering over the page. What would your message to the new minister be?
The arts are a fundamental right. In Ireland, they help us understand who we are, where we’ve been and where we’re going. And that is immeasurably valuable. They are also a key industry that employs people and generates revenue. The Fringe supports young and emerging artists to do work that they wouldn’t be able to do otherwise. That is vital for the continuing health of Irish society.
The Fringe has always pushed the boundaries. Does your new role in the Abbey signal a shift towards more conventional theatre?
Well, I was appointed to the board of the Abbey. It’s not something I applied for. Yes, my chief interest professionally is in work that is avant garde. That’s something I’m very passionate about. But I also really like a good play. It’s important to remember that, over the course of its 100-year history, the Abbey has always been radical, it has always pushed the boundaries.
Have there been any eyebrows raised at your appointment, considering your age?
I’m 30 so, yes, I suppose that is a fairly young age to be asked to join the board. But no, without exception, people have been incredibly supportive. I think it demonstrates a tremendous vision on the Abbey’s behalf in terms of bringing a younger perspective. It’s an honour and I’m very excited about it.
To what extent, if any, will you be able to influence the artistic direction of the theatre?
It is the role of the executive to decide what productions are staged and so forth. As a board member, my role will be purely advisory. I’m a fan and an audience member first and foremost.
You also will continue in your present role as director of the Fringe Festival. What can we expect in 2011?
Yes, the board of the Abbey, like all arts boards, is very much a voluntary position. I will be continuing in my role in the Fringe. The curatorial theme in 2011 is Brave New World. We’ll be looking at ways in which artists can offer vision and direction in terms of creating a new Ireland. Our application deadline is coming up very soon. Certain plans are already in place, but none I’m going to tell you about.
Finally, I know you were in Australia advising the organisers of a new Fringe Festival in Perth. What are the key ingredients in creating a successful festival?
Most of the things we do each year, on paper, shouldn’t work. But we succeed because of the vision and integrity of a group of very dedicated people. Last year, Macnas brought a huge spectacle to Dublin on a shoestring budget. Something like that only succeeds thanks to goodwill, good luck and the combined efforts of a lot of very talented people. That’s the secret.
