The Empathy Engine: Why Theatre Matters in an Age of Outrage
There’s something deeply unsettling about the way we consume information today. Personally, I think online platforms have become engines of outrage, amplifying division and reducing complex issues to soundbites. But what if there’s an antidote? Playwright Colin Murphy believes theatre is that antidote—an 'engine of empathy.' What makes this particularly fascinating is how he’s turned this belief into a career, blending politics and drama to create works that force us to feel, not just think.
The Political Playwright: A Rare Breed
Colin Murphy isn’t just any playwright. He’s a political playwright, a term he embraces bluntly. What many people don’t realize is how rare this is, especially in Ireland. While the Irish theatrical canon has its share of politically charged works—think Seán O’Casey or Brian Friel—none dive as directly into contemporary politics as Murphy does. His plays aren’t just set against historical backdrops; they are the history, dramatizing events like the 2008 bank guarantee or the 1921 Treaty.
From my perspective, this is where Murphy’s work becomes compelling. He’s not just retelling history; he’s humanizing it. Take his play Guaranteed, which reimagines the bank guarantee as a high-stakes, overnight decision. One thing that immediately stands out is how he transforms dry political events into gripping human dramas. As he puts it, ‘A group of men locked in a room overnight trying to solve a life-or-death problem. It sounded like a play.’ What this really suggests is that politics isn’t just about policies—it’s about people.
The Fine Line Between Fact and Fiction
Here’s where things get tricky. Murphy’s plays often feature real people, many still alive. This raises a deeper question: How do you balance journalistic accuracy with dramatic license? Murphy admits he walks a fine line, blending verifiable facts with imaginative storytelling. ‘If they didn’t, they couldn’t be drama,’ he says.
A detail that I find especially interesting is how he grapples with the personal sensitivities of his subjects. For instance, while working on Bailed Out, a taxi driver mentioned having Brian Lenihan’s daughter in his car earlier. That moment hit home for Murphy, reminding him of the human impact of his work. It’s a reminder that behind every political decision is a person, a family, a life.
Theatre as a Counterbalance to Outrage Culture
If you take a step back and think about it, theatre is uniquely positioned to combat the fragmentation of online platforms. In a world where we’re constantly scrolling, swiping, and reacting, theatre demands presence. It brings strangers together in a shared space, free from devices, and invites them to empathize.
Murphy’s pitch for theatre is simple yet profound: ‘It’s the absolute opposite of the fragmentation and outrage fostered by online platforms.’ Personally, I think this is why his work resonates. In an age where outrage is currency, empathy feels revolutionary.
The Future of Political Theatre
Murphy’s latest projects—like Miasma, set during the Victorian cholera epidemic, and The United States vs Ulysses, about the 1933 trial of James Joyce’s masterpiece—show his evolving scope. He’s no longer confined to Irish politics; he’s exploring global themes. But what remains consistent is his ability to find the human story within the historical event.
One thing that’s clear is that being a playwright in Ireland isn’t easy. Murphy supplements his work with journalism and screenwriting, acknowledging the challenges of making a living in theatre. Yet, he’s undeterred, actively pursuing longer runs and bigger audiences, particularly in the U.S.
Why This Matters
In my opinion, Colin Murphy’s work is a reminder of theatre’s power to humanize, to connect, and to challenge. It’s not just about entertainment; it’s about empathy. In a world increasingly defined by division, that’s not just important—it’s essential.
So, the next time you scroll through your feed and feel the familiar surge of outrage, remember Murphy’s words: Theatre is an engine of empathy. Maybe it’s time we all took a seat in the audience.
