{"id":2506,"date":"2020-06-30T08:52:30","date_gmt":"2020-06-30T08:52:30","guid":{"rendered":"https:\/\/www.spotlight.com\/?p=2506"},"modified":"2025-12-17T14:19:31","modified_gmt":"2025-12-17T14:19:31","slug":"eva-o-connor-on-writing-your-own-work","status":"publish","type":"post","link":"https:\/\/www.spotlight.com\/news-and-advice\/making-work\/eva-o-connor-on-writing-your-own-work\/","title":{"rendered":"Eva O’Connor on Writing Your Own Work"},"content":{"rendered":"

Performer and writer Eva O’Connor shares her experience writing award-winning plays and developing one of her\u00a0works into a BBC Three drama.<\/h3>\n
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People often ask me whether I prefer acting or writing. They’re always dying to know when I\u2019m going to choose between the two of them. Both questions are up there with the classic: “how on earth do you learn all those lines?”<\/div>\n<\/div>\n<\/blockquote>\n

I have always loved writing. My mother has black bags full of my\u00a0old notebooks in the attic at home. Writing always felt like a way to make sense of the world. No matter how scrambled my brain or my circumstances, if I can\u00a0get something down on paper, it seems a little more coherent.<\/p>\n

My passion for performing started with ballet. I vividly remember\u00a0attending my first class in a homemade skirt, which I hated.\u00a0I was livid at my mother that I didn’t perfectly match the other girls (the wrath of a five-year-old is very real!) but looking back, I am so incredibly grateful\u00a0for all the sacrifices my parents made so I could dance. It changed my life. My teachers taught me discipline, the importance of a strong work ethic and ultimately made me realise all I wanted to do was tell stories on stage.<\/p>\n

In university it occurred\u00a0to me I could both write and perform. I was studying English and German at Edinburgh and I was naive,\u00a0ambitious and impatient. I formed my own theatre company and cast my friends in my plays. The phrase \u2018ignorance is bliss\u2019 seems very apt when I think back on those years as I wrote furiously, hired lecture halls as rehearsal rooms, hustled for funding and made some fairly dodgy shows! I\u2019m grateful to my younger self for refusing to give up – for having zero shame.<\/p>\n

Throughout my time at university, we brought shows to\u00a0the Edinburgh Fringe on a shoestring. I remember one year there was a massive gang of us, and at one point there were 12 bodies asleep in one\u00a0huge bedroom. It was like a really nuts camping trip.<\/p>\n

The Edinburgh Fringe is a terrifying beast, but a brilliant opportunity\u00a0to showcase work. No matter how unknown you are, suddenly you\u2019re sharing a platform with world-class theatre-makers. Industry people and critics who might never otherwise attend your play are all in the same city and on the lookout for bold new work.<\/p>\n

Financially, and sometimes emotionally, the Fringe can be a hugely stressful month. I’ll never forget the time I\u00a0had a single audience member attend my show\u00a0My Name is Saoirse<\/em>. My director Hildegard insisted the show must go on, so I reluctantly performed the most intimate show of my\u00a0life. We got a glowing review the next day from the audience member who turned out to be a\u00a0reviewer. She was raving about her authentic \u2018Fringe experience\u2019.<\/p>\n

After university I went to drama school at Rose Bruford in London to do an MA. Since then I’ve written and produced plays that have toured around Ireland, the UK, New York, Australia and Europe.\u00a0There’s nothing like performing your work abroad. I\u00a0always have to pinch myself when I land somewhere and go on stage. I feel like a child at Christmas.<\/p>\n

I was\u00a0pretty unwell through my younger years. I had an eating disorder, which inspired my play\u00a0Overshadowed<\/em>. Prior to writing the play, I had never shared my personal story of having an eating disorder, so speaking openly was fairly daunting. I was acutely aware that theatre can be cathartic but shouldn’t serve as therapy. Audiences need to know they are in safe hands, not witnessing an open wound on stage.<\/p>\n

Ultimately the\u00a0experience of performing\u00a0Overshadowed<\/em>\u00a0was really profound. I and my director Hildegard adapted the play as\u00a0a series for BBC Three<\/a>, which meant it reached a whole new audience. I still receive messages now about how both the play and the series has encouraged people on their journey to recovery. The idea that something positive would come out of my own illness would’ve been unimaginable to me a few years ago.<\/p>\n

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Theatre can’t fix all of society’s ills but I think its job is to pose questions, rather than answer them. I believe in its inherent power to change hearts and minds.<\/div>\n<\/div>\n<\/blockquote>\n

Most of my plays touch on social issues or deal with mental health in some way. My play\u00a0Maz and Bricks<\/em><\/a>\u00a0toured Ireland in the run-up to the repeal referendum, during what felt like a really\u00a0fraught time. It was directed by Jim Culleton, and produced by Fishamble, who have been brilliant champions of my work and so many other\u00a0Irish theatre-makers.<\/p>\n

After the 8th had been repealed, we went on to\u00a0perform\u00a0Maz and Bricks<\/em>\u00a0at the Edinburgh Fringe and off-Broadway in New York at E59E59. It felt like such a relief to\u00a0be performing the play post-repeal, knowing that the battle had been won and history had been made. In the run-up to the referendum there was a lot of talk about art as activism. Theatre can’t fix all of\u00a0society’s ills but I think its job is to pose questions, rather than answer them. I believe in its inherent\u00a0power to change hearts and minds.<\/p>\n

I live and work with Hildegard Ryan and together we run our own company called Sunday’s Child. We met in Berlin on an Erasmus exchange and our\u00a0first creative project was\u00a0a short film about a dead goldfish. She directs my work, and we write together on both theatre and TV projects.\u00a0Having a work wife is a blessing. We bounce\u00a0ideas off each other, edit each other\u2019s work and when things don’t go our way, we can drink pints together and remind ourselves that “rejection is God’s protection”.<\/p>\n

My most recent play\u00a0MUSTARD<\/em><\/a>\u00a0is a one-woman show about madness, heartbreak, and one girl\u2019s obsession with condiments. It started as a short piece I had performed at scratch nights and evolved almost by accident. I’ve always been obsessed with mustard.<\/em>\u00a0When I had an eating disorder I was obsessed with condiments because of the strong taste and low-calorie content.\u00a0MUSTARD<\/em>\u00a0the play\u00a0is a strange ode to recovery from self-harm and heartbreak.\u00a0The moment where I slather it all over my body to shocked onlookers is a real thrill! When the play won a Fringe First at Edinburgh it was a complete surprise and a real career highlight.<\/p>\n

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For me, seeing other people’s work is a huge source of inspiration. Certain plays make your mind fizz with awe and possibility. I’ll never forget seeing ‘A Girl is a Half-Formed Thing’<\/div>\n<\/div>\n<\/blockquote>\n

People often ask me whether I prefer\u00a0acting or writing. They’re always dying to know when I\u2019m going to choose between the two of them. Both questions are up there with the classic:\u00a0“how on earth do you learn all those lines?” More and more people are writing and performing, flexing both muscles and making fresh exciting work.\u00a0In the TV and film world Sharon Horgan, Aisling Bea, Desiree Akhavan and\u00a0Clare Dunne are just some of the brilliant women creating and starring in their own work and paving the way for others.<\/p>\n

I try and write every day. I am a big fan of\u00a0The Artist’s Way<\/a><\/em>\u00a0by Julia Cameron. Cameron encourages people to write what she calls the “morning pages”. These are three pages of stream of consciousness writing that\u00a0you commit to paper as soon as you wake up. No judgment allowed. I think it’s so important to learn not to censor yourself or to doubt yourself before you have created anything. You’ll always be your own worst critic, but\u00a0you have to learn to nurture your ideas and trust the process.<\/p>\n

For me, seeing other people’s work is a huge source of inspiration. Certain plays make your mind fizz with awe and possibility.\u00a0I’ll never forget seeing\u00a0A Girl is a Half-Formed\u00a0Thing<\/em>\u00a0(the adaptation of Eimear McBride\u2019s book by Corn Exchange) where Aoife Duffin’s performance seemed to stop time.\u00a0Jesus Hopped the \u2018A\u2019 Train<\/em>\u00a0by\u00a0Stephen Adly Guirgis\u00a0made me want to run home and write. Watching Pat Kinevane in\u00a0Silent<\/em>\u00a0felt like a spiritual experience.\u00a0When I saw\u00a0Iphegenia in Splott\u00a0<\/em>by Gary Owen I booked my ticket to see it again the next night as soon as I left the auditorium.\u00a0Those moments are food for the soul, and for the creative process. Greatness to aspire to. When you watch brilliant theatre, you know that the elusive magic can never be bottled or recreated. But in striving for it you might just accidentally make something a little bit special.<\/p>\n

Eva O\u2019Connor<\/a>\u00a0is a writer and performer from Ogonnelloe Co. Clare. She runs Sunday\u2019s Child theatre company with Hildegard Ryan. Her plays include ‘My Name is Saoirse’, ‘Overshadowed’ (now a series on BBC Three), ‘Maz and Bricks’ (produced by Fishamble and directed by Jim Culleton) and most recently Scotsman Fringe First winning ‘MUSTARD’.<\/em><\/p>\n

‘MUSTARD’<\/em>\u00a0is produced by Fishamble and will be touring Ireland in the coming months.<\/p>\n

Image by Christin Hume.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Performer and writer Eva O’Connor shares her experience writing award-winning plays and developing one of her\u00a0works into a BBC Three drama. People often ask me whether I prefer acting or writing. They’re always dying to know when I\u2019m going to choose between the two of them. Both questions are up there with the classic: “how […]<\/p>\n","protected":false},"author":1,"featured_media":2931,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[57],"tags":[194,82,81,145],"class_list":["post-2506","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-making-work","tag-eva-oconnor","tag-first-person","tag-theatre","tag-writing"],"acf":[],"yoast_head":"\nEva O'Connor on Writing Your Own Work | Spotlight<\/title>\n<meta name=\"description\" content=\"Eva O\u2019Connor shares how writing and performing her own work led to award-winning success, from Edinburgh Fringe shows to BBC Three dramas.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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