[00:00:00] Geraldine Hennessy: So today I’m chatting to Angela Newman from theatre group Hysterical Histories. So Angela, as the artistic director and a cast member in Hysterical Histories, can you tell us about the vision behind the show and what inspired the creation of this unique approach to storytelling?

[00:00:24] Angela Newman: Sure, like I love to travel and when I travel I like to seek out different approaches to learning about the area or the city that I’m in and so I’ve been travelling around the world going to all of these events and these dinner theatres and, uh, and stuff like that and so when I decided to do something like this for Cork City, which is obviously the best city on the planet.

I felt that the way to tell people the story of Cork was through theater, obviously, because that’s my background. But also then I felt that we needed a chance to speak to the people who were actually coming to Cork. You know, if you do straight theater, you’re just standing on the stage and there’s that distance, that gap between you and the people watching the performance.

Whereas with the dinner theater approach, we’re actually in the room and it’s more of an immersive experience because they’re surrounded by the sounds of our accents and the music and they’re eating our food and it means that we have the chance while we serve them to actually come off the stage and have conversations about the city and answer any questions they might have about, you know, touring around Ireland or, you know, how you drive on tiny roads on the wrong side of the road if they’re from the States or any of those places, you know. And so that’s kind of the reason why we chose this approach because it was more conducive to an immersive kind of experience as opposed to just a theater performance.

[00:01:38] Geraldine Hennessy: Okay. How did you yourself get involved in historical theatre? Were you particularly drawn to it? And can you tell us a little bit about your own career path?

[00:01:47] Angela Newman: Yeah, so I actually worked in Bunratty Castle as an entertainer years and years ago, about 20 years ago now, more or less straight out of college, and I loved it.

I really loved it. But I also have qualifications in tourism and heritage management and Irish history. So I suppose Hysterical Histories for me was just kind of combining all of the things I loved most. Though I love talking about Cork, I love performing, I love food, I love history, um, you know, and I, so that’s basically what it was, you know, so. And the thing in Bunratty just kind of came about by accident, really. When I finished performing arts college. I was looking for work, obviously. Um, and all of my friends were going off on cruise ships. And I was not, um, inclined to be that long on the water. I don’t think I’m made to be out on the deep sea. A river? Yes, not the deep sea. So I was looking for other options and I ended up doing some promotional work and while I was doing some promotional work, I met someone from Bunratty who was recruiting and I had actually gone to a lecture of his cause he’s a historian about a year previous and I just kind of went up to him and I said, you know, I really enjoyed your lecture on Bunratty Castle.

You know, it’s so, you’re so interesting to listen to. And he actually said, hang on, are you an actor? And I said, yeah. And he was like, do you want a job? Yeah. So that was the first time I got to kind of use all of my interests and passions and my qualifications all at one time. And I loved it. I really enjoyed my time in Bunratty castle because you don’t just get to perform in one place.

They own two other castles as well. So I got to perform, meet people from all over the world. I work with an amazing bunch of women, made lifelong friends, and I suppose we’ve got that now in Cork. Yeah, it’s really special.

[00:03:29] Geraldine Hennessy: So it’s a really, it’s for you, it’s kind of a combination of all your passions. You mentioned there about history and performing arts.

It’s, it really is a combination. Okay.

[00:03:38] Angela Newman: Yeah. Yeah. 100%. Yeah. Including the food.

[00:03:43] Geraldine Hennessy: And how do you choose which historical events or figures to focus on in your productions and do you change these regularly?

[00:03:50] Angela Newman: That’s really hard. That was really difficult because I suppose we, you know, we only have people in the audience for two and a half hours to tell the history of Cork and Ireland really, because a lot of the major important events in Irish history actually happened in Cork city.

So that was, you know, they were the easy ones to pick out. And so I suppose we just had the timeline, we sat there and we said, okay, to get from A to B, how do we tell the history of Cork? Where are the most poignant moments? And also what are the ones that people would already know about that we need to kind of, we can’t leave out.

And that’s how we chose at the end of the day. I mean, we’d love to talk about everything because people who come to the show, especially Corkonians, they’ll come to the show and they’ll say, Oh, you left out such and such a person, or you could have mentioned this. I’m like, could have, but we’d be here for 10 hours.

So that was the really, the really hard part. What actually is nice now is that we’re being commissioned to write specific things for other venues. Like we did a really lovely piece for the opening of the new stage in Elizabeth Fort on Barrack Street. Uh, yeah, we were able to just actually focus on the 300 years of that one venue, which was wonderful.

It was a brilliant opportunity. The same thing happened with St. Finbar’s Cathedral, and I do bespoke walking tours, so I’m able to put all the knowledge to use, even if it isn’t in the actual show.

[00:05:04] Geraldine Hennessy: Yeah.

[00:05:04] Angela Newman: Because I’m constantly reading and constantly learning new things about Cork from other Cork people, which is wonderful.

Yeah. But I suppose the lines of who do we choose to put in, I suppose for me specifically because I’m a female led company, I was really anxious to tell the stories of some of the women that, you know, have either been brushed under the carpet or completely forgotten, you know, written out of history. And I was anxious to kind of put some of those people in.

So we put in people like James Barry, Nano Nagle, you know, those kinds of people that we felt that were really important to the city, the history of the city, but also just history in general, because people don’t really realize the effects that both of those women have had globally, which is incredible.

[00:05:43] Geraldine Hennessy: Very good. And are there certain historical figures or events that particularly resonate with the audience or perhaps surprises them?

[00:05:52] Angela Newman: Yeah, I suppose. Um, we always get a really good reaction to James, to Dr. James Barry because people just don’t know about Dr. James Barry. Um, and the fact that a person from Cork went on to become Medical Inspector General of the British Army in the 1800s, the first successful C- section in the known world, went on to invent the first aid manual. Like people have no idea, uh, that Dr. James Barry exists. So that’s one, that’s, I always love that reaction to Dr. James Barry. The other one, I suppose that everyone reacts to, and I think people are surprised, is we do a section on the penal laws. And I suppose just for everyone watching it, because we do it like in very quick succession about all the things that the Catholics weren’t allowed to do, which is illegal to be, you know, uh, illegal for a Catholic. Because it’s so fast paced, everyone’s like, hang on, what? They weren’t allowed to do anything? This, that’s terrible, you know? So I think that, that was probably the most surprising response that we had because, um, we see Irish people study it in school, so we weren’t expecting, a reaction from the Irish people who come to the show, but actually it’s probably the one that everyone across the board reacts to, yeah, with, with the most surprise. Yes. Yeah.

[00:07:01] Geraldine Hennessy: Okay. Can you walk us through your creative process from concept to performance? What are the biggest challenges in bringing history to life on stage?

[00:07:11] Angela Newman: Okay, so I suppose just with the creative process question, I’d have an idea or we’d have an idea. I do work with a very talented bunch of people, so I would generally kind of go to my actors / co- creators and kind of say, well, I’ve had this idea.

And then we’ll have a couple of chats about it. That might involve a couple of pints or glasses of wine. And then I suppose, you know, if it’s still in my head a few days later, I’m thinking, yeah, it’s probably a goer. Then that’s when we kind of sit down and we start making out a plan. So we, you know, we obviously go through like venues, available dates, budgets, all of those things. And that’s all done before ever writing anything. Um, obviously make sure that something’s going to be viable before you actually go, you know, put all this energy into it. So that is the really hard part because, you know, you, when you have a really good idea, you really desperately wanted to work and sometimes after you’ve done the figures, it’s just not going to happen, you know, and you kind of put it on the shelf and go, well, that’s there for the future if things should change.

99% of the time we make it work. So we find the money for it later. You know, that kind of scenario, we kind of, we get a writing room. I have a fantastic team of writers, including myself, Marie O’Donovan and Darragh Keating. We write really well together. We all have, obviously appreciate humor very, very much, but we all have three different styles of humor.

So that tends to work when we write together because there’s some humor in it that resonates with every single type of humor in the audience. So we found that works really well. And then we would write and it, depending on the project, you know, if it’s coming to us easily, it might take a week, you know, of full time work.

And then if it’s not coming to us easily, it could take months. So it, it, you know, yeah, it varies from project to project, I guess. The research part for the history is probably what takes longest. I mean, I think we were researching… I probably was researching historical histories my entire life, to be honest, because there probably isn’t a book about Cork that I haven’t read, you know. I used to do these lovely walks around the city center with my dad and my granddad, my granddad was a postman.

My dad, my, they both used to say, you know, always look up or look down. Most people look straight ahead when they’re walking, but you miss the tops of buildings and you’re thinking, God, that’s like a normal shop. I wonder what that is. And it makes you go and research it or look it up. Now, I was really lucky that I didn’t really have to look anything up because my dad and my granddad had done all the looking up for me, you know, and so that was wonderful.

And my mom is a historian. So there was that element as well, you know, so, so the house was always full of books about Cork and just history. So I had done a lot of research, but it was nice to kind of sit down in the room Um, with the others, the other actors and kind of go, what do you know about Cork? Um, I suppose the most surprising thing that we came across when we were actually researching Cork was I grew up on Barrick Street in Cork City and I would have crossed the South Gate Bridge like twice a day for the first 18 years of my life.

And I didn’t know that you could still see a gateway to the dungeon under South Gate Bridge. Yeah. And it was one, it was one of the other writers, Marie was like, no, there’s a dungeon. And I was like, no, there’s not like, no, I know this. Yeah. And we actually left the building, walked to Southgate Bridge and went, Oh my God, there it is.

It’s right there. You can see the arch. So you’re standing at the bottom of the street and you cross the road opposite the captain, captain’s table. With the barber shop on that side. And you lean over and look, look at the bridge underneath the bridge, you can see a bricked up archway. And that was originally the dungeon under Southgate Bridge.

So yeah. So the research part obviously is, is probably what takes the longest and it’s the most difficult part. And again, you know, you’re sifting through to find some gold in there and then we’ve got the writing process. And then once the writing is done, then we’ve got the casting. Obviously you need to find the right people to put it up, put it on its feet.

Again, I’ve been super lucky, like we have an incredible cast on this project, multi talented musicians, singers, actors, you know, your kind of all rounders. You found your venue, obviously, in the first section. So it’s just about, you know, the rehearsal process and getting it up and out. And that’s, that’s kind of it in short.

I mean, the whole process takes months, but yeah.

[00:11:19] Geraldine Hennessy: What role does humor play in your storytelling and how do you balance comedy with historical accuracy?

[00:11:25] Angela Newman: I used to tour around Ireland. doing Shakespeare for schools, whatever was on the curriculum. I always found it fascinating when we did the Q& A at the end, they would kind of ask questions about the funnier character, right?

And generally in Shakespeare, the funnier character is probably not the most important character when you look at things at first, but actually you’re more likely to remember what a funny person says funnily than you are a serious person, right? So we’ve had so many teachers come into hysterical histories or do the walking tours with us, and they’re like, God, I wish history was taught like that to me in school. It would have stayed with me because you remember laughing at something. You’re like, Oh my God, did you know that blah, blah, blah was funny. You know what I mean? Or this guy was hilarious, but they might not have been that funny and realistic, but they did say these things like everything that we’ve written or quotes are real quotes.

The dates are all accurate. The events are all accurate, but we’re telling it from a comedy point of view. So it sticks with people. It stays with people. The only thing we don’t make fun of is the famine, right? It’s always going to be too soon, right? And I think that then the famine really hits home harder, more poignant because we’ve been having the craic and having the bants the whole way through and we get to the famine and it’s really sad.

And there’s that lovely juxtaposition between people laughing. And then they’re welling up, they’re crying, you know, because they’re, you know, it’s really poignant. Like, this is how life was and it was always kind of difficult, but we were getting on with things and then this horrible thing happened. And I think, you know, we’ve managed to balance that quite well.

Now, when I say making fun of things, we really don’t make fun of anything. We’re just kind of making the point through humor, right? Because obviously the laws were not funny, but we tell the story through a real person’s experience, right? Real average person is like, well, I want to do this. Well, you can’t because you’re Catholic.

But what about that? That way of telling it is funny, but it’s all accurate, you know, not funny for that person. But you know, so yeah, that’s how we do it. Yeah.

[00:13:22] Geraldine Hennessy: The balance. Okay, perfect. Perfect. Perfect.

And you just mentioned about the famine and sensitive issues. So how do you handle the sensitive or controversial historical topics?

Are there specific challenges? In making these subjects accessible and funny.

[00:13:37] Angela Newman: I suppose, you know, we have to be careful that we’re not kind of seen to be taking sides in any, you know, history is in the past. It’s a thing that’s happened. It’s affected everybody. But, you know, you need to be careful to not take sides because you don’t want to alienate the people who are going to be passing on the information to future generations.

So you don’t actually want to alienate anyone. It’s not that we’re careful. It’s just that we go, look, this happened. This was terrible. We moved on, and then this happened. And so it’s more, there are sections in the show that are told, kind of, from an almost narration point of view, and that keeps it neutral.

And then, as I said, with the famine, we just take it really seriously. We just give them the facts. This happened. This many people died. This many people emigrated. Our population hasn’t fully recovered. And then that’s enough, you know, people kinda go, God, they didn’t know that our population still hasn’t recovered to pre famine, or we call it the Great Hunger in the show.

Whereas, you know, so it’s just giving them the facts. We sing a couple of songs in that moment, and I think through using music there as well, is a lovely, a nice balance, because it doesn’t feel like a history lesson. You know, when you listen to a piece of music, it really moves people, and then that’s generally what happens, you know.

I suppose the other kind of, I suppose, not controversial, but a bit of our history that people would find difficult to talk about would be the burning of Cork. So we don’t actually go into a whole lot of detail there, because if you are going into a whole lot of detail, you need to go right back in history to, you know, all the way back.

You could almost do a complete show on the burning of Cork. For the people not from Ireland in the audience, they appreciate that we haven’t gone into like, you know, crazy detail about all these things. But also they appreciate that we haven’t left them out and we haven’t forgotten about them and written them out of history, so.

[00:15:18] Geraldine Hennessy: Are you geared towards tourists or Corkonians more? Do you think tourists enjoy the Cork and Irish sense of humour as much as the natives, let’s say?

[00:15:27] Angela Newman: For sure, yes, a hundred percent. Fáilte Ireland and Tourism Ireland have done an excellent job abroad. I’ve done a good few events with them now in Canada and the States and the UK where I’ve gone and mc’ed events for them, you know, and they’ve done an excellent job in that what they’re selling is no longer the kind of plastic kind of paddy Ireland that they, you know, we would have done in the 60s.

What they’re selling is us, is Irish people. And I suppose people now who come to Ireland on vacations are not looking for you know, driving around on a bus with 40 people from their own country, and they’re not getting to meet any people. They’re actually looking for like, genuine, like, immersive, authentic experiences where they get to meet Irish people and have the banter and have the craic.

They’re prepared to come and have banter and sarcastic back and forth. They love it, you know, and what I love about the Hysterical Histories is we always have a lovely balance of like Cork people, Irish people in general, and people from around the world. And because of the layout, everyone sits at tables together.

There’s big banquet tables. And so they’re all chatting to each other, you know, so if Irish people are laughing at a subject and the people not from Ireland don’t get it, they actually will ask the people at the table, like, why is that funny? And then you’ll hear like, Oh, that was based on a news broadcast, like from the nineties.

It’s hilarious. You know? So it means you’re kind of opening up and chatting to other Irish people and it’s, yeah, so they love it. They absolutely love it. And when we started. we had kind of, I suppose, in our minds, because I had worked in Bunratty and actually Marie O’Donovan had worked in Dongora Castle, and that was 20 years ago.

And obviously things have moved on and changed since then. But in our minds, when we were writing it, we really were writing it for tourists, right? But obviously we didn’t want it to be fake Irish. And I think, you know, we wanted to just be ourselves. This is a couple of Irish people telling some stories that actually happened about our country.

And in doing that, we actually became really popular with locals. Not just from Cork, but Irish people, I think 75 percent of our audiences are Irish. They’re either Irish coming home and bringing people with them or they’re Irish living here. Somebody actually said to me during the summer, I’m so proud that I’m, to be from Cork after seeing your show, so proud. And it’s, I mean, that’s the, the biggest compliment is, you know, Cork audiences in particular are really hard to please. So when you get a compliment from someone from Cork, oh God, you’ve made me so proud to be from Cork.

[00:17:51] Geraldine Hennessy: Yeah. Um,

[00:17:52] Angela Newman: It’s huge. It’s the biggest compliment you can get.

Yeah. So. You know, like we started off writing something for one group of people and it ended up, because we weren’t being the tourist Ireland of the past, and we were being real, people from Ireland were like, God, this is a really excellent, you know, depiction of our history and this is great craic. And, you know, we love that. It was unintentional, but a very happy surprise.

[00:18:13] Geraldine Hennessy: Has the feedback from audiences ever shifted the way you approach future productions?

[00:18:20] Angela Newman: Honestly, no, because the feedback has always been excellent. So I’m sure if we had gotten some negative reviews, it probably would have affected us. But no, um, I suppose the only way that it’s, the feedback has affected us is to continue, right?

I mean, obviously, we, when we started first, we thought maybe, oh, we’ll, we might do this for the month of August every year. You know, that was 2018. Obviously, there’s two years in there that we don’t like to talk about, uh, 2020 and 2021. But we’ll forget about those. And when we started in 2018, we just kind of had intended we’d bring this back for every August.

And it’d be something for tourists, right? But because it became popular with Irish people, the season has gotten longer and longer. And that is due to feedback going, God, I wish you did this in March for Paddy’s weekend. Oh, I wish you did this in April. And I, you know, so now, I mean, our season is half the year.

We have a weekend of public performances at Paddy’s weekend in March. We start in mid May and we end in mid September and then the rest of the year, apart from December, while all of our cast go off to do pantomimes around the country, apart from December, really we’re open for corporate events and private entertainment for mc’ing.

So it’s kind of almost become a full time job for everyone from the initial idea of let’s do four weeks of this show to it’s now become a “We could do this at any point in time”. So I guess that’s probably the answer to your question. Has the feedback affected anything? It’s affected us positively. And yeah, so that’s great.

[00:19:46] Geraldine Hennessy: That’s good. And what’s your personal favourite part of the show?

[00:19:50] Angela Newman: Oh, I love the famine section. I do. There’s one particular song, Skibbereen in that section. It’s my absolute favourite. I just love this. I just love it. It’s so poignant and emotional and moving. And just a beautiful piece. And the arrangement that our musicians have done is just absolutely stunning and it’s harmony and it’s just beautiful. Makes the hairs on the back of my neck stand up when we sing it. It’s just gorgeous. And I suppose for me as well, like, because most of it’s been really funny up to that point. It’s seeing that the audience are really with us, you know.

They’d stayed with us for all the comedy. And then there’s, you could hear a pin drop when we get to the famine section. I think it’s just beautiful. And anytime that I’m traveling abroad and mc’ing, that’s always the song that they ask me to sing. Yeah, so I just love it, you know, and that’s my favorite part.

I know, I know I should be saying it’s the funny parts. I mean, all of it, I love all of it, but that’s my absolute favorite part. And what’s really nice is we’ll have kids in the audience who wouldn’t have learned about the famine yet or kids not from Ireland. And they’re really affected by the fact that they had no food, you know.

People had to leave their homes and they’re really affected by that. And so we get a lot of questions from kids afterwards, you know, and I love the questions. It’s, they ask us the best question. Some of them are really inapporpriate, but I love it. They’re children and I’ll always answer a question. But no, they’re, they always have the best questions, you know, and they’re little thinkers.

It’s great.

[00:21:11] Geraldine Hennessy: Very good. Very good. And the cast seem like they really enjoy performing on stage and are genuinely friendly when interacting with the audience. How do you and the other cast members keep up your enthusiasm show after show.

[00:21:24] Angela Newman: Do you know what, that comes down to the people that we cast. Our cast are incredible.

They’re a group of people who just love to talk to people, you know, meet people. And I think when we were auditioning, that’s what we were looking for. We were looking for people who could have the banter and the chats. And not just be in character, you know, with the distance between them and the audience like that was really important.

It was as important as being able to perform. Um, cause what we were trying to create was that immersive, authentic experience that, you know, so people came and they feel like they’re in your living room and they’re having dinner with your family almost, you know, feel comfortable in your presence and relaxed and they can ask you questions.

And that’s what we had in mind when we were casting. And I’ve just been so lucky to find like the incredible bunch of people that we work with. Anyway, I can answer for me, but the enthusiasm is always there because I just love Cork. Like I love talking about Cork. I love talking about Ireland. I love telling people how brilliant we are.

Um, you know, the amazing inventions that people have done, the famous people that have come from Ireland. I love it, you know. And we’re always, you know, getting stories from other Irish people who are like, Oh, and do you know this? And have you heard this story? So it creates all this lovely conversations at the tables of people because, you know, if they’re not from Cork, we’ll have the slagging match over the GAA results or, you know, that kind of thing, you know?

[00:22:39] Geraldine Hennessy: Yeah, yeah.

[00:22:40] Angela Newman: You know, people always say to me, like, I’m from Kerry, I’m like, oh, I’m sorry. You know, that’s… we love it, you know, have to explain to them, it doesn’t matter. We love each other, really. We’re, we’re like, we’re like brother and sister. How we keep up the enthusiasm, it’s the, it’s the energy coming back at us.

You know, they come in, they’re in great form already. And no two nights are the same, you know. You’ll have a different audience, kind of a listening audience, you know, that are very quiet. And then you’ll have like a rip roaring hooray audience, you know, who are just getting involved in everything, but they’re equally, they’re equally brilliant in their own ways, you know.

And again, like I was saying to you, the ones where we have loads of kids are always interesting because the kids think they’re watching TV. So they’ll say things out loud, which we don’t respond to because we can hear them, you know, everyone can hear them. So it changes things up, you know, it’s constant.

It’s never the same two nights. I mean, it’s the same, obviously the concept is the same. But the audience make it different for us every night. So it’s easy to be enthusiastic about it and it’s such a good product. that it’s easy for us to be enthusiastic still. Yeah.

[00:23:34] Geraldine Hennessy: Okay. And how do you see theatre and live performances evolving in today’s digital age?

And where does hysterical histories fit in?

[00:23:43] Angela Newman: We were headed towards digitalizing everything and everything being accessible online during COVID. And we were coming up to that during, like before COVID, obviously we wouldn’t have been able to make all these massive leaps, in developing things, if we kind of weren’t already started to do that.

But I think with COVID, what changed things was people started to get sick of their screens. Right. And they were starting craving actual personal interpersonal experiences outside their own home. And I think, if anything, it’s made people more curious to come to live performances, right? You can still access, you know, fantastic musicals and movies on TV.

You can see live performances, you know, on the National Theatre website and, you know, in cinemas around the country and stuff. And that’s wonderful, but I think it gives people a taste to go and say, God, I wonder what it would be like to be in the audience and watch this live. Helped us to improve the audience numbers in live theater.

I think it’s, we’ve kind of reached an audience who may have not grown up going to the theater, may have stumbled across something online in the digital age during COVID. And then it kind of piqued their curiosity. And then they sought that out. They sought out live performance when we all came out of lockdown and they’re a new audience.

Right. So we’re now with this lovely mix of people who’ve grown up in the theater who’ve been coming to the theater since you were children. And we’ve got this new curious audience who were kind of like in their thirties and forties who were experiencing all for the first time. And then they’re bringing their kids, you know, and so they still have this lovely new enthusiasm for live performance.

And I think that’s amazing, you know. Like whether or not we’ll end up reverting back to things online in the future. I don’t know. I hope personally, because I love performing live, that the live performance thing continues on. But it’s a lovely mix of both at the moment, and I think that will continue. I work with a lot of students and I see where they’re aiming to go is live performance.

And actually, I think a lot of them are pulling back from using digital and a lot of it’s kind of going back to basics and look what we can do with the minimal budget, look what we can do with one room and four chairs. I would love it to kind of revert back and us kind of find ourselves at a base level again to kind of launch off from again.

It happens every kind of 30 years in theater. At the moment, I’m finding a lot of the productions I’m going to are quite Shakespearean. Using different spaces, not just theatre spaces, making it more accessible because they’re not in a theatre space. People who don’t go to the theatre might feel uncomfortable in a theatre space.

They don’t feel uncomfortable outside in a fort or in a, maybe in a church or upstairs in a pub or, you know. So, I think that’s where we’re headed. Um, we’re continuing to head in that direction. And it seems to be working because we’re, our audiences are growing, um, not just for us, but for everyone. Yeah. And I think that’s the future.

Not so much digital, but obviously we use digital, you know, media to advertise. Um, I think that radio is making a big comeback and podcasts are making a comeback. And I know a couple of people who are working on podcasts, which are, are plays. So they’re going to do loads of, you know, plays. And I think that’s fantastic.

And especially the older generation who maybe can’t get out of the house. If you don’t want to watch movies, they’re, they’re still in that listening mode, you know? And I think that’ll be hugely interesting to see what happens there as well.

[00:27:01] Geraldine Hennessy: Very good. Very good. Well, thank you so much, Angela, for joining us on the Cork Creative Podcast.

[00:27:08] Angela Newman: Thanks.

[00:27:08] Geraldine Hennessy: If you want to learn more about Angela and Hysterical Histories, you can find more on corkcreative.ie