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Awed by Maria Connolly’s explosive monologue, Bridget’s legacy also lingers visually for the remaining two plays with her coffin set to the left of the stage: a literal placing of these female stories side by side to garner a collective female history for Belfast during these difficult times – histories left out of the record books in favour of the grand male-dominated ‘Troubles’ narrative. My favourite feminist moment has to be the innocent proclamation by the young girl Lisa (Kerri Quinn, who literally bounces around the stage) in ‘Picking Worms’: “We love playing at the rope bridge. They want to talk at the rope bridge as if they are scared someone might take it!

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However, perhaps the main indication of the quality of this stunning trilogy and its universal appeal to humanity – that actually cuts across limiting labels such as gender, class, or religion – is proven in the attitude progression of the man sitting behind me: clearly dragged along by his wife, the ending of the first play saw her question “Well, it was great wasn’t it?!

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