Sarah steps into the spotlight
Hilary A White
SARAH Greene’s time has arrived. By the time you read this, Rosie, the new drama she stars in, will have begun its task of moving the conversation around this country’s housing crisis up a notch. In it, the Cork actress plays the young mother of the title trying to juggle the usual responsibilities and logistics that come with being a parent to young children. The only difference for her and husband John Paul (Moe Dunford) is that they’re homeless.
Written by Roddy Doyle with an eye on the hidden practical headaches of this nightmare, it is required viewing for the nation because, as is so often the case, its fiction facilitates our understanding of reality.
Paddy Breathnach’s film is a hard-hitting piece of social realist filmmaking but also a tender and beautiful portrait of a woman trying to keep the family show on the road from the tight environs of her car, all the while being kept on hold by the emergency accommodation helpline.
“Everyone deserves a home,” the 34-year-old nods. “It’s very hard being a mother or father and not being able to provide for your family. Your job as a parent is to keep them safe and protect them, and when aspects of that are taken away it puts these people in an awful situation. These are good people, like most of the families faced with this. It’s through no fault of their own, it’s through repossession or landlords selling and there’s just nowhere to rent, it’s too expensive. The country has got so greedy. So yeah, it was a very important role for me to take on.”
But for Greene, Rosie is destined to be a special film in other ways. After bit parts in fare such as The Guard (2011), the Corkonian’s immaculate craft and elfin, Armada looks came to wider attention when she starred in the Abbey production of Alice in Funderland (2012) before her West End turn in The Cripple of Inishmaan in 2013 nabbed her Tony and Laurence Olivier Award nominations.
Since then, we’ve seen a somewhat uneven ascension on the big screen (supporting roles in Noble, Dublin Oldschool, Black 47, the Bradley Cooper flop Burnt) and the small ( Rebellion, Ransom, Penny Dreadful). Despite seeming ubiquitous and winning a couple of Iftas along the way, there was always a feeling Greene had yet to find her place in the landscape and capitalise on the buzz. Rosie, a front-and-centre powerhouse performance, has put paid to such talk.
“Well I am, yeah,” she agrees in sing-song Leeside when I put it to her that she’s been picky about the work she takes on. “Choice is everything. Unfortunately, we do a lot of fluff. There’s three boxes — profile, money, heart — and if the project ticks two of those, you do it. I read this script and was incredibly moved by it and it’s such an important story. I felt honoured to be part of it.”
While the housing crisis raged outside the perimeter of the set during filming, there was something else in the air that made Greene adamant to do this part.
“As a woman, there aren’t many roles like Rosie that come up. This is rare, but it is hopefully starting to change. People are going to see films with female lead casts which five years ago wasn’t happening because you couldn’t get funding.