Meet Eve O’Mahony, the actress, writer, and producer to know

by Sarah Gill
10th Dec 2025

Eve O’Mahaony’s one-woman show, The Last Witch Bridget Cleary, is a captivating theatrical production that brings to life the tragic true story of Bridget Cleary, a Tipperary woman whose fate became one of Ireland’s most infamous cases of alleged witchcraft and superstition.

Eve O’Mahony is an actress, writer, and producer with a passion for bringing compelling stories to life. With a dynamic career spanning theatre and television—including appearances in The Young Offenders and TG4’s Am Abú—she has earned acclaim for her powerful performances, sharp storytelling, and dedication to historical and character-driven narratives.

As an actress, she has taken on a wide range of roles, from historical figures to contemporary characters, showcasing her ability to embody complex personalities with authenticity and nuance. Her stage work includes acclaimed solo performances as well as ensemble productions, earning her recognition in the theatre community.

As a writer, Eve is known for crafting narratives that explore historical themes, folklore, and strong female protagonists. Her original works have been performed on stage and adapted for various media, demonstrating her skill in weaving compelling and thought-provoking stories. As a producer, Eve has successfully brought numerous projects to fruition, overseeing all aspects of production with precision and creativity.

Her experience in theatre and independent film has made her a respected force in the industry, known for her ability to balance artistic vision with practical execution. Eve O’Mahony continues to create and perform, engaging audiences through her storytelling and dedication to powerful, meaningful narratives.

Was a career in the theatre something you always aspired to?

I think so, whether subconsciously during my earlier life when I was trying to find a job that was dependable and responsible, yet I always felt a pull back towards the stage. My mother sent me to drama lessons when I was five, to build confidence, she said. My first role was an angel and I remember the audience laughed and since that first adrenaline hit, I was hooked.

What draws you to historical and character-driven narratives?

Aristotle said, “Give me the child until he is seven and I will give you the man.” My mother is an English and History teacher, so we got a very thorough education. When we were very young I saw John B Keane’s The Field at The Abbey. I grew up in rural Tipperary where castles are plentiful and she’d say to me and my sister, “just think of the people who lived here,” so I think it all evolved from there. She has no one to blame but herself.

Tell us about The Last Witch Bridget Cleary.

It’s a one-woman show based on the life and death of Tipperary woman Bridget Cleary, who was murdered by her husband in 1895. His defense in court was that she was a fairy/a changeling. I play the part of Bridget and other characters involved, including her husband, and narrate how it all came to pass.

What has the reaction been like so far?

Brilliant. It first premiered at The Clonmel Junction in 2018 and that was a surprising sell-out start. It’s gone from strength to strength and has evolved over time. I’m doing a tour at the moment and have upcoming performances at Down Arts Centre and The Glens Centre in January.

How do you go about taking a story or character from the page and bring it to life on the stage?

I read Angela Bourke’s excellent book The Burning of Bridget Cleary, which gives a lot of background and information on the case. I was writing this show for about two years on and off. For about one year, eleven months and three weeks it wasn’t great. And that’s being kind. But then I saw Michael Keegan Dolan’s Loch na hÉala at the Abbey and something switched. I realised that the play needed a song. So, I have Bridget singing ‘Slievenamon’, which unleashed her quirks, charm and character. It was more or less written in a week after that.

You wrote and perform this solo. What is this experience like?

I travel solo with this show. I’m the producer, stage-manager, stage-hand, etc. I drive to the theatre, drag my props out of the car—sometimes in the rain—liaise with the technician, set up the stage, change into my costume, do my warm-ups, listen to the audience come in, question my life choices, then walk on to the stage and sing. And I’m not a singer. But when you’re onstage and you know that you and the audience are on the same wavelength, it’s magical.

Who is someone you look up to in the world of Irish theatre?

Rachael Dowling, who is a dear friend and mentor. I met her when I was working backstage on a play and she was very kind. I contacted her again a few years ago asking for advice and we remained in touch. I was in her house recently and there was a huge poster of John Huston’s The Dead. I had nearly forgotten she was in it. She’s been a reader for another of my plays that is still in the writing phase and gives me great advice and guidance.

What is one thing you wish everyone knew about working in theatre?

We do it for the love of it. Each and every one of us who work in the arts do it for the love of it. It’s not a hobby.

What is one piece of advice you would give to someone hoping to have a career in the arts?

Be bold. Don’t wait for permission. But if I can put in another nugget of advice: mind your head. Mental health is very important. We’re sensitive souls, so take care of that.