Nicola Tallent

So the set was simply black with a couple of television screens along each side.

And there was no presence, which, of course, the beginning of...

our show that we went to Jerry Hutch himself is sitting in an armchair being interviewed been asked a few questions and answering them and what did you think of that when you see that like because it starts off it's the first scene it's black on stage it comes up

You see, I thought I was going to, because I read some of the reports after the Monday that the play should have been, that somebody, I think it was actually Paul Williams wrote that the play stood alone and didn't need Jerry Hutch in the armchair at the beginning of it.

So I thought I was going to probably feel the same because I'd seen the play.

And I thought it was very powerful on its own.

But actually, I thought it was extraordinarily powerful.

if you view it as a piece of art, which is what I do and I like theatre, I thought it was quite an extraordinary moment to be there, considering all that's happened, all that's gone on, that here you have this play and you have the individual alive and sitting on an armchair at the beginning of it discussing what, you know, it's as if he's got us eating the dole.

So there's so much coming at you there, isn't there?

And it's sort of, as well, it doesn't feel awkward.

No, it doesn't.

It sort of seamlessly fits the play and he doesn't,

He's obviously not a skilled actor.

Now, maybe he's done it that many times and he sat in that chair, but he feels very comfortable and it feels like he's actually got elected and you're listening to what he has to say.

Morality of it all.

Morality of two things.

If he wasn't running for election...

how would people feel about it?

Is that what's really... No, I don't think that is it at all.

It's the legitimising of him, the legitimacy of him as sort of a character of Dublin, isn't it?