A Conversation With Playwright/Director Tom Dugan, "Irish Goodbye", Dugan’s Backyard Playhouse, by James Scarborough

Tom Dugan’s “Irish Goodbye” at Dugan’s Backyard Playhouse reminds us of the power of intimate, site-specific theatre. Set in a small New Jersey pub, Dugan creates a narrative of redemption and unexpected companionship between a disgraced cop and an ex-beauty queen. Their encounter on a cold Christmas Eve transcends the confines of the pub and echoes universal themes of loneliness and human connection. Dugan’s blend of dark comedy with profound emotional moments shows his ability to find humor in the bleakest of circumstances. Anica Petrovic and JP Hubbell embody characters who are flawed yet deeply human. The outdoor setting of Dugan’s Backyard Playhouse, with its “speakeasy” vibe, adds a layer of intimacy and authenticity to the experience, allowing us to feel as if we are part of the unfolding drama.

JS: How did you come up with the concept of “Irish Goodbye”? How did you come up with the title?  What, for those that don’t know, is meant by an “Irish Goodbye.”?

TD: An “Irish Goodbye” is when you leave a party without telling anyone.  It’s the opposite of a “Jewish Goodbye” where you say “goodbye” but never leave.

“Irish Goodbye” is the second play in my “Cemetery Pub Trilogy” which includes “Cemetery Pub,” “Irish Goodbye,” and “Hank & Otto”). All three plays are set in O’Brien’s Tavern, a struggling family bar, just across the train tracks from the back of Saint Gertrude’s Catholic Cemetery, somewhere in New Jersey.  I come from a large Irish family, and so this play for me highlights the importance of family, especially when loved ones disappear without warning.

JS: Discuss the thematic significance of the play’s setting—a small pub across from a cemetery.

TD: Setting the tavern near a graveyard heightens the urgency, reminding the characters of their mortality and bringing their life and death struggles into focus. The nearby train tracks add a metaphorical layer symbolizing life on the other side of the tracks.

JS: How do you balance the story’s dark comedy and poignant drama?

TD: You know whenever I try to write “a comedy” it usually sucks, but when I write dramas, they wind up being pretty funny.  I suppose that’s because humor stems from pain. laughter naturally arises when the audience recognizes themselves up there on stage. 

JS: What challenges did you face in developing the characters of the disgraced cop and ex-beauty queen? How did you bring them to life?

TD: It was challenging, as I’ve never been a disgraced cop or a beauty queen. However, I do have family and friends who have faced tough times. As a writer it’s crucial to remember that both Sandy and Barnie are three-dimensional human beings with a lot of heart in a very difficult situation.

JS: How did the intimate, outdoor setting of Dugan’s Backyard Playhouse influence your approach to this play?

TD: The intimate setting makes each production feel almost environmental, with the audience practically on stage. This closeness immerses them in the action. For the actors performing in such a small space, it’s akin to acting in front of a camera.

JS: Elaborate on your collaboration with Anica Petrovic and JP Hubbell in bringing their complex characters to life?

TD: I met JP Hubble while performing in a very popular production of “Bent” at The Coast Playhouse in West Hollywood in 1987.  We reconnected, after many years, just at the start of Covid.  Meeting every Wednesday under a tree in Encino Park to talk for hours.  Our conversations, and my desire for us the work together again, inspired me to write “Irish Goodbye” as well as the other two plays.

I was impressed by Anisa’s performances at The Group Repertory Theatre in North Hollywood, and Theatre 40 in Beverly Hills. After inviting her to participate in several readings of the script, she took to the part of Sandy so naturally casting her in the roll was a no brainer.

JS: How does “Irish Goodbye” compare thematically and stylistically to your previous works like “The Ghosts of Mary Lincoln” and “Tevye in New York!”?

TD: For 20 years I wrote only one person plays (Robert E. Lee -Shades of Gray, Frederick Douglass - In The Shadow of Slavery, The Ghosts of Mary Lincoln, Wiesenthal, Tell Him It’s Jackie and Tevye in New York!), each required a full year of research before I ever started writing.  The whole process could take up to three years. Once I began writing multi character, fictional plays, the process became more streamlined.  Once I had an idea I could start writing immediately!  It was liberating.  Now the first draft takes about three months, and with rewrites the whole process now takes only about one year.

JS: What do you hope audiences take away after watching the play?

TD: If the audience talks about your play on the car ride home, it’s a success. A well-told story lingers in their minds.  As an audience member, I feel like a detective, piecing together clues - “Oh, I get it. That line in the beginning sets up that thing in the ending!”  I hope “Irish Goodbye” sticks with people the same way.

JS: How has your work evolved since you started producing plays at Dugan’s Backyard Playhouse during the pandemic?

TD: I no longer need permission to produce my plays. Instead of waiting years for a theatre to agree, I cut out the middleman and produce them myself. My publicist Philip Sokoloff does a great job attracting reviewers way out here to Woodland Hills.  Thankfully, over the years, we’ve received consistently good reviews. After posting about “Cemetery Pub” in 2022 a theatre in Florida requested the script and then created their own successful production in Fort Lauderdale.  Another production is planned for Minnesota in 2025. Dugan’s Backyard Playhouse has truly been liberating for me.

JS: What future projects are you considering? Do they build upon the themes you explored in “Irish Goodbye”?

TD: "Hank & Otto" concludes “The Cemetery Pub Trilogy”. Ok, here’s the pitch; While sitting in a cemetery on Halloween night 1932, Hank and Otto, hatch a plan to convert a dilapidated mortuary into an Irish Pub using old coffins found in the basement. Before they do, these two best friends, who survived the blood battlefields of WW I together, must confront their complicated sexual past, even as the very real threat of death lurks behind the tombstones. Stay tuned!

Performances are on July 19, 20, 21, 26, 27, 28, August 2, 3, 4, 2024. Fridays and Saturdays at 8:00 PM, Sundays at 7:00 PM. Tickets are a suggested donation of $25.00. The Dugan’s Backyard Playhouse is located in Woodland Hills, CA (exact address provided upon reservation. For reservations contact [email protected] / [email protected] / (818) 481-5377