Mirror Mirror on the Wall: Unwanted Reflections in The Boys of Foley Street (2012)

  • Miriam Haughton


‘Do you want to come to a party?’1 — a sweet, freckled red-haired child2 in her school uniform asks, grabs my hand and leads me into an apartment in the Liberty House council complex close to Foley Street in Dublin’s north inner city. Next, a bare-chested young thug grabs me away from the girl and pushes me into a very small bathroom, dimly glowing in eerie red light. ‘Have a look at that’,3 he orders. Squinting through peepholes, I witness a recording of a gang rape. Recoiling from the peepholes in horror, I confront my reflection in a facing mirror. I then close my eyes to receive some respite, until a shaky traumatized voice (the girl from the recording) whispers from behind, ‘Can I wash myself?’4 and I know that I have no choice but to look.


Hegemonic Masculinity Show Document Irish Theatre Gang Rape Production Style 
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  1. 5.
    Brian Singleton, Masculinities and the Contemporary Irish Theatre (Basingstoke: Palgrave, 2011), 3.Google Scholar
  2. 6.
    Fintan Walsh, Male Trouble: Masculinity and the Performance of Crisis (Basingstoke: Palgrave, 2010), 8.CrossRefGoogle Scholar
  3. 14.
    Christopher Murray, Twentieth-Century Irish Drama: Mirror up to Nation (Manchester: Manchester University Press, 1997), 3.Google Scholar
  4. 16.
    Catriona Crowe, ‘The capacity of a community to look at itself without fear or shame’, The Boys of Foley Street Programme (Dublin: Dublin Theatre Festival 2012).Google Scholar
  5. 17.
    Hans Thies-Lehmann, Postdramatic Theatre, trans. Karen Jurs-Munby (London: Routledge, 2006), 68.Google Scholar
  6. 26.
    Michel Foucault, The History of Sexuality 1: The Will to Knowledge, trans. Robert Hurley (London: Penguin, 1998), 93.Google Scholar

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© Miriam Haughton 2014

Authors and Affiliations

  • Miriam Haughton

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