 But We’re Right begins with a warm, familiar Irish voice conjuring the rhythms of small-town life — the local bakery everyone swears by, a proper cup of Barry’s tea, and that common refrain: “there’s the good part of town, and then there’s the other part.” It’s instantly recognisable, tapping into a romanticised version of Irish identity that feels both nostalgic and comforting.
But beneath that familiarity lies a sharper tension. In recent years, Ireland like many parts of Europe has seen that image splintered by a rising tide of anti-immigrant sentiment. Riots, protests, and hate-fuelled rhetoric have erupted even in cities like Dublin, where just last year thousands rioted against those seeking refuge from war, persecution, and famine. The contradiction cuts deep. A country with a long, painful history of emigration from the Famine ships of the 19th century to economic exile in the 20th now finds itself turning away others in desperate need. But We’re Right steps into this uneasy paradox, asking how a nation built on the experience of displacement can so easily forget what it means to seek shelter elsewhere. AJ (Molly Murphy Hazzard) and Beibhinn (Kate Brosnan) are two young women stuck in the quiet frustration of small-town life caught between a lack of opportunity and the slow erosion of their hopes. Like so many disillusioned people across Ireland and beyond, their dreams remain unfulfilled, and even the promise of stable work with dignity feels just out of reach. For AJ, that frustration quickly curdles into blame. Without evidence, she pins the hardships she and others face on “them” the immigrants, outsiders, people who she claims are taking what little there is to go around. Her bitterness finds a political outlet as she joins anti-immigration protests and, to Beibhinn’s horror, proudly waves a “GO HOME” banner. Yet what’s most unsettling and brilliantly captured by the innocent looking Kate Brosnan is how easily Beibhinn, initially repulsed by AJ’s views, begins her own slow descent into resentment. After losing her job and being evicted from her home by her own sister who wants to repurpose the room for a refugee she sees as someone to nurture and Beibhinn is left adrift. The creeping sense of replacement, of being made disposable, begins to twist her thinking. The show captures this transformation with precision, showing how economic instability and emotional alienation can make even the kind-hearted susceptible to dangerous ideas. Molly Murphy Hazzard’s breakout performance as AJ is nothing short of captivating, showcasing a rare ability to embody a character who speaks with fiery conviction despite a shallow grasp of the issues she parrots. AJ is not bright but she repeats slogans and talking points pulled straight from Facebook and social media, with little critical thought behind them. Yet Hazzard brings such raw, almost hypnotic passion to these hollow words that it’s impossible to look away. She captures the unsettling energy of someone who can sound fiercely certain while saying very little, revealing the dangerous power of rhetoric divorced from understanding. With this performance, Hazzard announces herself as a force to be reckoned with and a real talent destined for big things. Lee Hutchison 4.5/5 But We're Right Venue: Sanctuary at Paradise in Augustines Dates: August 5th to 9th Time: 1620 Tickets: www.edfringe.com/tickets/whats-on/but-we-re-right |
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