Faith Healer – Footnotes
The Footnotes to our episode on Faith Healer include observations on the elusive faith of the healers and the healed, and on the emotional truth of our memories.
Faith Healing
There is a long tradition of faith healers in Ireland who have the power of what is known as the “cure”. The cure can consist of magical or religious healing, occasionally combined with herbal remedies, and according to an Irish Times article from 2013 there are still hundreds of healers operating. Healers are universally reticent to talk about how their power works, and there is very little public evidence available. Advertising is virtually prohibited, and apparently it is taboo to take any money, contrary to Frank Hardy’s practice.
Folklore has that it is only the seventh son of a seventh son, or seventh daughter of a seventth daughter who could be gifted with the cure. Frank recalls that their poster used to say that he was the seventh son of the seventh son – a bogus claim as he tells us that he was an only child. Perhaps it is harder to find faith healers today because there are fewer families with seven children!
More often than not the ritual has a Christian element, and Frank suggests the analogy with the church when he calls it a “a ministry without responsibility, a vocation without a ministry.” There is certainly an association between the elusiveness of Frank’s gift and religious faith, both of which defy explicit proof. The Faith Healer also seems to require that both the healer and the healed must have faith. As a real-life healer propounded: “For those who believe in such cures no explanation is necessary and for those who do not, no explanation is possible.” A maxim for the paradox of faith.
Following her final separation from Frank, Grace visits another type of healer, her GP. The pills he prescribes and the advice he gives her seem futile to cure her “distraught mental state.” This may be because she does not believe in his cure. She knows that only Frank “can put his white hands on her face and still this tumult” inside her.
There is a brilliant observation in the play of the psychology of the people coming to the healer, who do not entirely want to be cured. Frank says that they hated the healer because coming to him was a “public acknowledgment of their desperation. And even though they told themselves they were here because of the remote possibility of a cure, they knew in their hearts they had not come to be cured but for confirmation that they were incurable; not in hope but for the elimination of hope; for the removal of that final impossible chance – that’s why they came – to seal their anguish, for the content of finality.”
But, “occasionally, just occasionally, the miracle would happen…And then… a sudden flooding of dreadfully hopeless hope”.
This hopeless hope might just as well be describing the incurable misery that binds Frank and Grace. And when Frank finally goes to meet his end he removes any more impossible chance, “for the content of finality”.
Joe Gallagher – Faith healer
Photo: Paulo Nunes dos Santos for
The New York Times.
Memory and truth
The different versions of the past that the characters share in the play underline that there is no such thing as objective truth in memory. We each create our own subjective truths. More specifically our memories are conceived not necessarily by what practically happened but what we feel about what happened. What is primary is what happened to us emotionally.
This is concisely illustrated by their differing memories of the weather in Kinlochbervie. For Grace the mist and rain is the enveloping misery of her lost child and her husband’s betrayal. For Teddy the sunshine was the moment his love for Grace shined. He was there for her in her time of need, replacing Frank. For Frank his memory of the picture-postcard view of Kinlochbervie is an invented image that attempts to whitewash the anguish he cannot face at the death of his child, and his own guilt.
113 – Arcadia by Tom Stoppard
Published 24th August
Tom Stoppard’s 1993 play, Arcadia is viewed by many as his finest play, renowned for the breadth of its intellectual interrogations and its formal invention. The play is a structural masterpiece of ideas, as well as a teasing detective story, joyous comedy, and emotionally rich exploration of love and loss.
As we record this episode a wonderful new production of Arcadia is playing at the Duke of York’s theatre in London’s West End, following its acclaimed run at the Old Vic theatre earlier this year. I am delighted to share the challenge and the pleasure of exploring Stoppard’s dazzling drama with the director of the new production, Carrie Cracknell.
112 – Glengarry Glen Ross by David Mamet
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David Mamet’s modern American classic, Glengarry Glen Ross, is a blistering commentary on the cut-throat reality of the American dream, and its poisonous impact on those who have bought into the myth and machismo of that dream. The play had its world premiere in the small Cottesloe theatre at the National Theatre in London in September 1983, and was first performed in New York the following year, winning the Pulitzer Prize for Drama. Mamet also wrote the extended screenplay for the star-studded 1992 film version.
As we recorded this episode a new production of the play was playing at the Old Vic theatre in London, with an all-female cast. This is a particularly provocative idea, because one of the primary themes of this play is masculine identity, and the salesmen in this Chicago office do not hold back in their display of machismo.
To explore Mamet’s unflinching slice of 1980s dog-eat-dog capitalism, I am joined by arts journalist Mark Lawson.
111 – The Resistible Rise of Arturo Ui by Bertolt Brecht
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Bertolt Brecht’s ‘gangster spectacle’, The Resistible Rise of Arturo Ui, is both an exuberant and funny piece of theatre, and a chillingly topical political satire. Set in the 1930s Chicago of Al Capone, Brecht presents a parody of the rise of Hitler through the character of the gangster Arturo Ui. The play is a universal cry for vigilance against the rise of unscrupulous, populist leaders who threaten democratic societies and global peace.
As we recorded this episode a new production of the play by the Royal Shakespeare Company was playing in Stratford-upon-Avon, starring Mark Gatiss as the title character.
I am delighted to be joined by both the show’s translator, playwright Stephen Sharkey, and by Brecht scholar, Professor Tom Kuhn, to guide us through Brecht’s political parody.







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