Nearly four decades ago, Ciaran O’Reilly and Charlotte Moore, sought to fill a void in New York City’s theatrical landscape. With a calling to create a home for Irish-born actors in The Big Apple, the pair envisioned a full-time professional Irish theatre. Now in its 38th season, the Irish Repertory Theatre has not only lived up to its core mission of presenting Irish-American drama performed with native understanding, but it has also adapted its programming to reflect the many social changes since its inception.

“What we can add now is our strong desire to keep up with what represents Ireland today and what it means to be Irish. America is a much more diverse country than it was in 1988,” notes O’Reilly.

Even after many years in big city, the native of Co. Cavan has never forgotten his small-town roots. “My father was a farmer and pub owner. I went to Carmelite College in Moate, Co. Westmeath. I came to New York when I was nineteen and began acting in Off-Broadway plays. I returned to Ireland and worked at the Abbey Theatre in Dublin and other venues and then I went back to New York and acted on Broadway, Off Broadway, and in films and television.”

Those early years of paying his dues eventually culminated in the Irish Rep. He and Moore initially ran all facets of the theatre.

“Thankfully, we now have a full-time staff that takes care of Marketing, Development, General Management, Technical, Box Office, and Front of House. We are also blessed with a wonderfully active Board of Directors who offer guidance and support.”

Finding financial support in the competitive New York City market was often challenging. “We are a not-for-profit organization and depend heavily on financial support from individuals, foundations, corporations, and government sources. We have great friends who believe in us and year after year have kept our lights on.”

With box-office sales accounting for more than 50 per cent of the company’s income, theatre-goers have played a central role in keeping those lights on.

Regional audiences have evolved over the years and is today composed of a diverse melange. “It’s a mixture of Irish-born, Irish American, and Jewish from the Tri-State area, as well as hard-core New York City theatre-goers,” explains O’Reilly. “We also get a lot of tourists who got to know us during our virtual programming during the pandemic.”

As artistic director, O’Reilly, along with Moore, is deeply involved in programming and carefully selects the creative teams to bring the season to life. The non-negotiable criterion for all productions remains two-fold: “It should have an association with Ireland and it should stir us in heart and mind.”

Past productions include works by Eugene O’Neill, Conor McPherson’s “The Weir”, and Brian Friel’s “Philadelphia Here I Come”, staged to packed houses.

“I have high hopes for its continued longevity. The next generation of playwrights, especially women, is providing many exciting new works. We offer a platform for several through our New Works reading series and table reads.”

More support is needed, however. “It’s ages old, but government funding for artists to live as they create new works is imperative. The Irish Government brands Ireland as a land of literary giants, so they should invest more in the reality of keeping that trajectory relevant and alive.”.

Ultimately, O’Reilly finds rewards within the work that go beyond funding proposals and production logistics. “There is nothing more fulfilling than witnessing a full house absorb a story that you had a hand in putting together. We found out during the pandemic that live theatre is not just an entertainment, it is a spiritual necessity. It is a privilege to be able to provide this space.”

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