The Empathy Engine: Why Theatre Matters in an Age of Outrage
There’s something profoundly human about sitting in a dark room with strangers, all of us collectively holding our breath as a story unfolds on stage. Playwright Colin Murphy calls theatre an ‘engine of empathy,’ and personally, I think he’s onto something. In a world where online platforms thrive on outrage, theatre offers a rare antidote—a space where we’re forced to slow down, listen, and maybe even understand someone else’s perspective.
What makes this particularly fascinating is how Murphy’s work sits at the intersection of politics and creativity. His plays aren’t just entertainment; they’re dramatized history lessons, often featuring real-life characters and events. From the Irish bank guarantee of 2008 to the 1916 Rising, Murphy’s work is a synthesis of public life and artistic expression. But here’s the kicker: he’s not just retelling history; he’s inviting us to feel it.
The Political Playwright: A Rare Breed
One thing that immediately stands out is Murphy’s self-description as a ‘political playwright.’ It’s a label that feels both bold and necessary. In a country like Ireland, where politics is often hyper-local and devoid of glamour, Murphy’s work stands out. He’s not afraid to tackle big, messy moments—like a group of men locked in a room overnight, trying to solve a life-or-death problem. That’s the premise of his play Guaranteed, and it’s a perfect example of what theatre can do: take a dry, factual event and turn it into something visceral.
What many people don’t realize is how risky this approach can be. Writing about real people, especially those still alive, requires a delicate balance between fact and fiction. Murphy admits to walking a fine line, and I think that’s what makes his work so compelling. It’s not just about the events; it’s about the human decisions behind them. If you take a step back and think about it, that’s the essence of great theatre—it humanizes the abstract.
The Power of Micro-Moments
A detail that I find especially interesting is Murphy’s shift toward micro-moments in his later plays. While his earlier works focused on macro events like the bank guarantee or the Troika bailout, his recent plays zoom in on smaller, more intimate decisions. For example, in Treaty, the drama isn’t just about the signing of the 1921 Treaty; it’s about the internal crisis of the characters involved.
This raises a deeper question: What makes a moment dramatic? Murphy’s answer seems to be that it’s not the scale of the event, but the stakes for the individuals involved. A character going on a journey, facing a crisis, and emerging changed—that’s universal. And it’s what connects his work to a broader tradition of political theatre, from Seán O’Casey to David Hare.
Theatre vs. Online Outrage: A Contrasting Landscape
Here’s where Murphy’s commentary on theatre as an ‘engine of empathy’ really hits home. In an era dominated by social media, where outrage is currency and nuance is often lost, theatre offers a counterpoint. It’s a space where complexity is celebrated, not simplified. When Murphy says, ‘You bring a group of strangers together… with no devices… and if these things are engines of outrage, [theatre] is an engine of empathy,’ he’s highlighting something crucial: theatre demands our presence, our attention, and our willingness to engage.
What this really suggests is that theatre isn’t just art—it’s a social practice. It’s about creating a shared experience, one that can bridge divides and foster understanding. In a fragmented world, that feels more important than ever.
The Struggle of the Playwright
Despite its power, theatre isn’t an easy career path, especially in Ireland. Murphy is candid about the challenges of making a living as a playwright, often supplementing his work with journalism and screenwriting. This raises another interesting point: Why is it so hard for artists to sustain themselves in a field that offers so much cultural value?
From my perspective, this speaks to a broader issue—the undervaluing of the arts in society. Murphy’s success in New York, where his plays have enjoyed longer runs, underscores the limitations of Ireland’s cultural landscape. It’s a reminder that art needs space to breathe, to reach a wider audience, and to be supported.
Final Thoughts: Why Theatre Still Matters
If you ask me, Colin Murphy’s work is a testament to the enduring relevance of theatre. It’s not just about telling stories; it’s about creating moments of connection in a disconnected world. As he puts it, theatre is the opposite of online fragmentation—it’s a place where empathy can flourish.
So, the next time you’re scrolling through your feed, feeling overwhelmed by the noise, maybe consider buying a ticket to a play instead. You might just leave with a deeper understanding of the world—and yourself. After all, as Murphy’s work shows, theatre isn’t just about watching; it’s about feeling, thinking, and maybe even changing.
