DIrector Ross Gaynor on bringing Men’s Business to Finborough Theatre
Dublin’s Glass Mask Theatre isn’t just making its London debut; it’s kicking down the doors of Finborough Theatre. The company – known for its fearless approach to new Irish and international work – presents Men’s Business, a world premiere adaptation of Franz Xaver Kroetz’s Mannersache by award-winning playwright Simon Stephens. Directed by Ross Gaynor, this intense drama peels back the layers of love, repression, and survival in a world that shows no mercy.
We caught up with Ross Gaynor to talk about the show’s challenges, inspirations, and the unrelenting power of silence.
Welcome to ET! Please introduce yourself.
I’m Ross Gaynor, the director of Men’s Business, a new version of Franz Xaver Kroetz’s Mannersache, in a world premiere by Simon Stephens. We are an Irish theatre company called Glass Mask Theatre, and this is our London debut.
Where are you performing, and why that venue?
We’re performing at the Finborough Theatre, which was actually suggested by Simon Stephens himself. Glass Mask Theatre in Dublin is an intimate, bespoke space, and Simon felt the Finborough had a similar size and energy—plus, it reflects our punk rock ethos.
What can audiences expect from the show?
Men’s Business is a bold and challenging play. Originally written in 1970s Munich, Simon Stephens’ adaptation feels startlingly relevant today. It follows a female butcher and a male builder who fall in love in the back of a butcher shop—yet their inability to express their emotions leads to catastrophe. It’s a brutal and detailed exploration of relationships, capitalism, and how modern society impacts its most vulnerable members.
What initially attracted you to this project?
I directed the Irish premiere of Simon Stephens’ Country Music for Glass Mask Theatre in 2024. It was my directorial debut after a decade as an actor, and it turned out to be a huge critical and commercial success. Simon attended the play, loved it, and offered us another. He’s my favourite playwright, and Glass Mask is my favourite theatre to work in—it was a no-brainer.
What is your favourite element of the show?
I was heavily inspired by slow cinema for this production, particularly the works of Chantal Akerman, Jonathan Glazer, and Taxi Driver-era Scorsese. The idea is that the actors simply do things, allowing moments to take as long as they need to unfold naturally. It can be jarring, but when it works, it’s magnificent. Our two actors, Lauren Farrell and Rex Ryan, handle it brilliantly.
What has been the biggest challenge in realising the writer’s vision?
This play relies on long, intense silences, which demand absolute concentration. If not handled correctly, they risk becoming dull or awkward. That was a huge challenge for me and, even more so, for our actors. But once we got it right, those moments became some of the most powerful in the play.
How important is audience interaction to you?
This play isn’t about direct interaction—it’s more about the audience witnessing the story in an almost voyeuristic way. That said, I love the energy shift in a room when you can feel the audience leaning forward, completely engrossed in what’s happening.
What do you hope audiences take away from the show?
I hope they reflect on themselves, their behaviours, and the society they choose to live in—then consider how they might make all of those things better.
What has been the most valuable lesson you’ve learned from working on this show?
Hold your nerve. This play is strange, slow, violent, sexual (but not sexy). It’s awkward and difficult. Many of our choices go against traditional entertainment, but they are what make the play work. Sticking to them, rather than compromising, has made all the difference.
Describe a moment during the production process that felt transformative.
There’s a lot of sex in this play, so we approached it carefully. When our intimacy coordinator, Marty Breen, came on board, it completely transformed our approach to those scenes, bringing a new depth and honesty to the work.
Will you be heading to the bar after the show, and are you hoping audiences will chat with you about it?
Firstly, we’re Irish—of course, we’ll be at the bar! But I prefer when people take a few days to digest the play before reaching out. Immediate reactions can be misleading; the best thoughts take time to manifest.
If your show were a piece of visual art, what style or artist would it resemble, and why?
Men’s Business would be A Thousand Years by Damien Hirst. That installation—featuring a decaying cow’s head, maggots, flies, and an insect-o-cutor—brutally reflects the relentless life cycle. Grim, but honest.
What’s the most valuable piece of advice you’ve received in your career, and how has it influenced your work on this show?
“It’s only a play.” We have an incredible job—liberating, adrenaline-fueled, and important—but if you’re not happy or taking care of yourself, your work will suffer. You come first.
Thank you for talking to us, Ross. We’ll be sure to hold our nerve when watching Men’s Business—though after that Damien Hirst comparison, we might need a stiff drink at the bar afterwards!
Men’s Business plays at Finborough Theatre from Tuesday 18 March to Saturday 12 April.
