A Conversation with Director Steve Robman, "Corktown '39," Rogue Machine Theatre, by James Scarborough
May 04, 2025
"Corktown '39" thrusts audiences into a taut political thriller rooted in a little-known chapter of history: an Irish Republican Army plot to assassinate the King of England in 1939. The play unfolds over just four days, creating an intense environment where ideals, loyalties, and personal relationships collide.
The production rises above mere historical curiosity by confronting thorny ethical questions about political violence. When does resistance become terrorism? Can morally questionable tactics serve the pursuit of freedom? Rather than offering easy answers, playwright John Fazakerley creates a framework that compels audiences to wrestle with these dilemmas through human drama.
The romantic subplot between an assassin and his protector adds human complexity to the political narrative. This relationship forces characters to reconcile abstract political commitments with messy emotional realities.
Steven Robman has assembled an impressive cast of Los Angeles stage veterans, including Ron Bottitta, JD Cullum, and Peter Van Norden. Their experience promises nuanced portrayals of characters caught in an intricate web of conviction, duty, and moral compromise.
By exploring Joe McGarrity's branch of Clan na Gael, the production illuminates the often-overlooked role of Irish-American support networks in Ireland's independence struggle. Through this historical lens, "Corktown '39" invites reflection on contemporary questions about resistance movements and the complex relationship between means and ends.
Below follows an email interview with Steven Robman.
JS: "Corktown '39" explores a historical event that many Americans may be unfamiliar with. What drew you to this particular story? How did you balance historical authenticity with creating compelling drama?
SR: Until I read the play several years ago, I did not know that certain Irish political leaders had considered an alliance with Hitler's Germany in what was clearly about to become World War II. That the commitment to banishing the English from their long-lamented control of Ireland might justify partnering with the Nazis was a shock to me and I wanted the story to be heard by a larger audience.
As for the "balance" question you pose above, Jon Fazakerley, the playwright, has taken great care to create characters in the story who embody the many sides of the arguments that the play dramatizes. For example, Sean Russell and Joe McGarrity are two key figures in the play who were real people, and in both cases, we see their strengths and flaws and vulnerabilities, all of which give texture and depth to the story. I was also drawn to the play because of the way it examines how very strong political commitment can take its toll on personal well-being, as well as how the cost of ambition untethered to a moral code can be poisonous.
JS: The play raises profound questions about whether terrorist tactics can ever be justified for a "noble goal." How did you approach directing material with such morally complex terrain? Did your own views on the matter evolve during the production process?
SR: The assassin in the play, when he has doubts about the task he was hired for, says at one point, "Even great patriots can be overzealous in serving their cause." Obviously, the playwright is questioning whether extremist tactics can be justified for any goal, a political-social argument that has been going on for centuries (if not millennia). As I mentioned above, the play benefits from the fact that the characters who embody opposing viewpoints are quite articulate and aggressive in arguing them, yet they don't lose their humanity while doing so. We did a lot of work in rehearsal to make each point of view heartfelt and believable.
As for my own views, I would say that I am probably more open to listening closely to opinions I once categorically opposed than I was before. I say "listening"--not necessarily altering my views, but trying to understand the other side a little better.
JS: Can you talk about your casting choices? With veteran actors like Ron Bottitta, JD Cullum, and Peter Van Norden involved, what qualities were you looking for to bring these historical figures and fictional characters to life?
SR: Gravitas! You had to believe that these politicos were not extremist crazies, but hard-core professionals who had given serious thought to their commitments. And, as I said above, I also wanted to be sure you could see and feel their weaknesses and vulnerabilities as well. Peter Van Norden, the aging lion (or "godfather," if you will) in the play, is clearly aware of the moral ambiguity he is facing and quite touchingly admits his doubts about the certainty of his life-long commitment to the movement he has headed for decades.
JS: The romantic subplot between the assassin and the woman sheltering him creates an intimate human dimension within a larger political narrative. How did you work with these actors to develop that relationship in a way that feels authentic rather than merely functional to the plot?
SR: One of the great strengths of the play is its depiction of how the political component of the story bears so heavily on the personal lives of the characters. Frankly, one might argue that the play is basically saying: "When the political gets personal, watch out!" In rehearsal, that romantic subplot was given more and more texture as the weeks progressed, so that it stood on its own as a story while still being heavily affected by the political forces at work. We tried to make sure that the needs and objectives of the romance were met on their own, yet were inescapably buffeted by the political narrative.
JS: Scenic Designer Mark Mendelson had to create a setting that captures America in 1939 while conveying the secretive, pressure-cooker atmosphere of the plot. How did the physical space of the production contribute to the storytelling and thematic elements of the play?
SR: In my talks with Mark, we kept going back over and over again to the notion that this Victorian parlor was also literally the headquarters of a political organization, that the living quarters were also the office, that daily lives were always intermixed with work--an image of inextricable commitment to a cause.
JS: The play unfolds over just four days in May 1939, creating a compressed timeline. What techniques did you employ to maintain tension and convey the high stakes throughout the production?
SR: There are nine scenes in the play. A lot of work went into making the transitions from one scene to the next as short and snappy as possible, so as not to "deflate" as we progressed through the story. We also worked hard to establish "hooks" at the ends of scenes that would push an audience to want to know what was going to happen next. But probably the most critical decision we made to sustain the tension in the story was to eliminate the intermission that was originally written into the play; we wanted to grab our audience and not let go, basically a wise strategy for what is essentially a political thriller. We knew that we'd be asking an audience to sit for 105 minutes without an intermission, but it has so far worked out pretty well.
JS: How do you hope "Corktown '39" might resonate with contemporary audiences, particularly in relation to current discussions about political extremism and the ethics of resistance movements?
SR: Right now, it is clear that in our current world the intricate systems in place that govern and sustain legal, business, academic, artistic and social interactions may be more fragile than we realize. It's going to take a lot of courage not to succumb to moral immobilization.
Performances are 8pm Fridays, Saturdays, Mondays; 2pm Sundays through May 25, 2025 (no performances on Monday May 5, and 12). Tickets: $60 on Saturdays for general seating; $45 on Fridays, Sundays and Mondays. Seniors: $35. Students with ID: $25. Discount prices available on select Fridays. The Rogue Machine at the Matrix Theatre is at 7657 Melrose Avenue, Los Angeles. For information, click here or call 855-585-5185.