Orla Long

This story is set in the "in-between" time of a girl's life, when she is no longer a child and not yet a woman. We open with our heroine, Maeve, putting on her new snow white bra, and stepping out into the world as a young woman. She has an obsession with breasts and bras and can't help but stare at other girls and women, even the head nun doesn't escape her gaze. Otherwise, her world revolves around her three friends, Ruth, Claire and Orla, who are more experienced in the ways of the world. They wear bras already (except Claire the feminist) and they've all had boyfriends. The new bra is a start but they really hope Maeve can find a fella, even offering kissing lessons to prepare her. What no one expects, least of all Maeve, is that she should snare the local sixteen-year old heartthrob. Maeve is so smitten with him that she lets her friends down when they need her the most...

Endgame tells the story of Hamm, who is reduced to living in one room, in which he sits blind and chair-bound. His only escape from his solitary world is the company of his aging, legless parents, who live in garbage bins, and his shuffling servant, Clov, who is at his beck and call, and who, like a dog, comes when whistled for. The only thing left for Hamm is to wait for the inevitable end. A pinnacle of Beckett’s characteristic raw minimalism, Endgame is a pure and devastating distillation of the human essence in the face of approaching death. “Nothing is funnier than unhappiness” invokes Nell, which summarizes the tragicomic nature of this timeless play.