Orig. bildtext… PREPARATIONS FOR THE DRAW OF THE IRISH HOSPITALS SWEEPSTAKE ON THE GRAND NATIONAL STEEPLECHASE, AT THE MANSION HOUSE, DUBLIN. Credit: Album / TT News Agency / SVT

The Good Luck Club – Anu Theatre – Review

The Good Luck Club – “Luck wasn’t chance. It was an industry.”
27th May to 14th June / National Archives of Ireland, Bishop Street, Dublin

This production takes audiences back in time, offering a glimpse behind the closed doors of the Irish Hospitals Sweepstakes. From the outside, one might assume that the Sweepstakes was a charitable organisation operating a lottery to support the state’s healthcare system. The reality, however, was quite different. As we meet some of the organisation’s key figures, the extent of the corruption at its heart gradually comes into focus.

For those unfamiliar with this scandal from a bygone era, the Irish Hospitals Sweepstakes was once described as the “biggest and most successful lottery in the world”. At a time when lotteries were banned in many countries, the Irish version achieved remarkable international reach. Tickets were sold across the globe, including in the United States, often to Irish emigrants dreaming of a life-changing win. Behind the scenes, however, the organisation developed a reputation for exploiting its workers while generating enormous wealth for its organisers.

The production forms part of the Census 1926 programme and was created by Anu in partnership with the National Archives and the Department of Tourism, Culture, Arts, Gaeltacht, Sport and Media. The economics of an immersive production such as this are intriguing, and one cannot help but wonder how Anu survived its formative years to become the established company it is today. Theatre is rarely an easy industry in which to turn a profit, and when the cast nearly equals the audience in size, the challenge becomes even greater.

Although this is another historical work from Anu, it differs in emphasis from many of the company’s previous productions. Much of its earlier work focused on events that occurred exactly one hundred years earlier, with the Decade of Centenaries providing a recurring framework. This story is set somewhat later, with the outbreak of the Second World War featuring at one point in the narrative.

While many older audience members may remember the scandal, it has largely faded from public consciousness among younger generations. As a result, the production is likely to spark renewed interest in these events. As with many Anu productions, audiences are immersed in the world of the story and left to piece together the narrative for themselves. Even a basic familiarity with the historical background may enhance the experience. Some of the most affecting moments, however, have little to do with the scandal itself, instead focusing on individuals whose lives were shaped by the events unfolding around them.

Although the National Archives is an impressive building, it is not an obvious setting for a story of this nature. The creative team has therefore transformed parts of the space to serve the performance. The production values are exceptionally high, with several sets feeling closer to film locations than theatrical stages. Other scenes take place among the archive rooms themselves, surrounded by their towering rows of shelves. Many of Anu’s signature techniques are on display, including moments when audience members are quietly drawn away for intimate one-to-one encounters with characters.

This is a uniquely immersive theatrical experience, and its only real drawback is how few people will have the opportunity to see it. The production is already sold out, but a waiting list is available for those who hope to experience this fascinating and thought-provoking event.

Company

Presented by ANU Productions

Written & Directed by Louise Lowe

Director: Louise Lowe

Design & Scenographer:  Owen Boss

Costume Designer: Mae Leahy

Lighting Designer: Sinéad Wallace

Composer: Rob Moloney

Sound Designer: Aidah Sama

Producer: Lynnette Moran

Producer: Matthew Smyth

ANU Board
Oonagh Young (Chair and Secretary)
Austin O’Carroll
Colin Martin
Elaine McGrath
Gaylene Gould
John Egan
Miriam Haughton
Samir Elden
Michele McGuirk
Cast
Ghaliah Conroy
John Cronin
Libby Conway Dunne
Maeve Fitzgerald
Oliver Flitcroft
Jack Hassett
Pattie Maguire
Ciara Molloy
Jamie O’Neill

Production Team and Crew
Production Manager: JC Collins

Production Manager: Adam Fitzsimons
Chief LX: Eoin Lennon
Company Manager & Assistant Producer: Jack Shanley
Stage Manager: Gillian Weston
Assistant Stage Manager: Síobhra O’Farrell
House Technician, ASM & Performer: David Hannafin
Costume Supervisor: Eimear Hussey
Associate Director: Samantha Cade
Associate Designer: Mar Parés Baraldés
Assistant Director: Lara Coady
Assistant Designer: Juliette Lawless
Hair & Makeup Design: Niamh Glynn
Marketing & Press: Jack O’Dea
Box Office & Front of House:  Take Your Seats
Rehearsal Photographer: Ailbhe O’Donnell
Rehearsal Photographer: Ste Murray
Graphic Design: Patrick Feeney