In the seventh installment of "Say Nothing," titled "Theater People," the narrative shifts its gaze to the intricate lives of Dolours and Marian Price, as they traverse the tumultuous terrain between their past as activists and an uncertain future, haunted by the lingering specters of their deeds during the Northern Irish conflict. After enduring the arduous ordeal of a 200-day hunger strike and an eight-year confinement within the walls of Armagh women’s prison, Dolours finds herself contemplating the very essence of their sacrifices. Her release hearing marks a solemn vow to embrace nonviolence, signifying the closure of her chapter in armed struggle.
Yet, within the confines of their home, Marian's true sentiments unfold, revealing a hesitant heart that refuses to relinquish the fight. Her words echo the steadfast belief of their father, who viewed sacrifice as an indispensable element of their cause. Dolours' earnest desire to shed her past and embark on a fresh journey is ensnared by the complexities of reintegrating into civilian life. Her burgeoning relationship with actor Stephen Rea, whom she encountered in a theater production attended with her sister on the eve of a bombing, serves as a beacon of joy amidst the turmoil. However, the intrusive probing into her culpability and drinking habits underscores the uphill task of her transition. Dolours' battle with alcohol emerges as a palpable coping mechanism, as she wrestles with the moral labyrinth of her past deeds and the daunting endeavor of becoming "respectable" in her thirties.
The episode plunges deeper into the sisters' disparate visions for their future roles. While Dolours stands resolute in her decision to sever ties with the IRA, Marian toys with the notion of reigniting her involvement in smuggling endeavors, albeit sans her sister's immediate consent. The political scene undergoes a transformation as Gerry Adams pivots his focus towards politics, campaigning for a parliamentary seat with Sinn Féin, thereby entangling the sisters' relationship with the movement they once unwaveringly pledged allegiance to in a web of complexities.
Gerry Adams' character is painted with intricate shades, as he traverses the treacherous landscape of politics, endeavoring to disassociate himself from his IRA past. His strategies to mold public opinion, notably his denial of IRA involvement, forge a wedge between him and his former comrades, notably Brendan Hughes, who languishes in prison, observing his friend's political ascension with a cocktail of bewilderment and betrayal. "Theater People" delves deeply into the theme of reconciliation, compelling its characters to confront their pasts and the sweeping societal transformations enveloping them.
Dolours' battle with her identity and the haunting trauma of her deeds is vividly apparent, as she seeks solace in the numbing embrace of alcohol and the camaraderie of theater folk, yearning for an escape from the oppressive weight of her past. This episode offers a poignant depiction of the intricacies involved in progressing after being deeply enmeshed in a violent conflict. It underscores the arduous task of releasing the grip of the past, the relentless struggle to redefine one's identity, and the formidable challenge of reconciling with actions that have etched indelible marks on both personal and collective histories.
In summation, "Theater People" is a potent exploration of the aftermath of political violence and its profound impact on the lives of those who endured it. It narrates a tale of resilience and the human capacity to pursue redemption and peace amidst adversity. This episode stands as a poignant testament to the complexities of post-conflict life, where the struggle for peace is as formidable as the battle waged during the conflict itself.
