“We’re all closer to the edge than we think.”
This is the sobering truth at the heart of Myra’s Story, a raw and powerful one-woman play that holds up a mirror to society’s indifference and dares us to really look. On the stage, all that’s needed is a bench by the Ha’penny Bridge – and the incredible storytelling of Fíonna Hewitt-Twamley – to transport us into the chaotic, heartbreaking world of Dublin’s streets.
Myra McLaughlin, once a mother, a wife, a woman in love, now finds herself begging for change, often dodging the pity and disdain of passers-by. She wasn’t always homeless – and that’s the crux of this story. Through flashes of humour, devastating memories, and surreal interludes, Myra lays bare the journey that led her here. It’s a story that could be yours or mine, if life had dealt different cards.
Hewitt-Twamley’s performance is nothing short of astonishing. Holding the stage alone for two hours (with a brief interval), she seamlessly shifts between an array of characters from Myra’s past – from gruff, charming Tommy and fragile Bridie, to a vodka bottle and an argumentative garden gnome. Each voice, each gesture, is distinct, drawing laughter one moment and silence the next. Her comic timing is razor-sharp, but it’s the emotional depth she brings to Myra’s pain and resilience that makes this performance unforgettable.
The play constantly breaks the fourth wall, with Myra stepping out of the story to ask audience members for spare change – a bold move that forces us to sit in our own discomfort. Because we’ve all been there – walking past someone like Myra, maybe offering a smile, maybe nothing at all. But this time, we listen. We see her.
Brian Foster’s writing is rich with wit, humanity, and compassion. He doesn’t present Myra as a symbol or a statistic, but as a fully-formed, flawed, and fiercely funny woman. Her story weaves through love, loss, addiction, childhood trauma, and historical events like Bloody Sunday – showing how easily the fabric of a life can come undone.
Despite the starkness of the subject matter, Myra’s Story is filled with humour and hope. The surreal moments – such as a drunken debate between a Russian vodka bottle and a garden gnome – lighten the weight of the narrative without ever undermining its impact.
By the time the curtain falls, you could almost hear a pin drop – almost, if it weren’t for the relentless pinging of mobile phones throughout the performance. It was a frustrating distraction in an otherwise deeply immersive experience. Still, when the audience rose to their feet, it felt like more than just applause – it was a tribute. To Myra. To every real person she represents. And to the phenomenal talent of Hewitt-Twamley, who deserved our full attention from start to finish.
This is not just theatre – it’s a wake-up call.
Myra’s Story runs at the Grand Opera House until Saturday, 5 April. Audiences are invited to make a donation to a local homeless charity after each performance – a small gesture, but one that could mean the world to someone living Myra’s reality.
Discover more from LoveBelfast
Subscribe to get the latest posts sent to your email.
