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WE can be happy together, if we didn't stay here and it wasn't like that now. Mistakes, an adaptation of Louise Kennedy's novel, by AILBE Keagan, hits that nerve.
A small town outside Belfast, 1975: Rancor, a little suspicious of the obstacle course in Catory. The priests at the school are on fire, telling all the children that Protestantism is an evil enemy, even though one of the children was the son of a Catholic and Protestant father. Cusla entertains the boy, who likes to come to school without a dress, and his older brother, who shows signs of sharing secrets to tell others to read. He also gives them their house at their flag gate, in the accident of his car being hit by a brick, and informs his support to his family when his father avenges him.
In the Pub, at all times, the British soldiers who drink there come on all days, strong and the possibility of this when it comes to the violence that Ketula and his brother can stand. Locked up, Cyela repeatedly arrives home to find a widowed woman (Gillian Anderson) drowning in loneliness and gin.
We know that in six months, Cusla will pick up the ashes of the pub, who knows who was caught by the famous, and before we are silent. Michael is a group that protects Protestant Protestants, believing that a fair trial is the best way for him to be spared by Catholics, who feel that he is judging dangerous crimes. He is a target, he is married and he is ten years older than Cusla, maybe more like two. Starting to weave on the floor with him would not be wild.
With the cool and fluffy hair of a romantic hero from two centuries ago, Michael is a dream goat. His meat has no time. It is not known that Cyela (and the US) in his list “extend about how we should choose the freedom of the whole war, but the ideas are intoxicating.
“Uzi,” he says, “he says when he stands in front of himself, right there in his city Shag-Pad-pad. Van Morison Sprins enjoys his moments later if Cusla puts his head in the edge of the matihael in the middle. On the hands of alemble, the man has a game, and the show would not work if he did not. But the big load is busy with Petticall, who is in every moment and when he plays Keshla with less care, it will allow the thoughts of a person who has pure purity. Instead, it causes Cusla's energy to be cold at first, and then it confuses the heart.
As it comes, the mistakes seem like a series of well-known Melodramas, each one lending itself to additional problems. We have a woman in love with a married man who is not honest about his life, a teacher who goes out with him to help find out that their son is calm, and his wife who was from his mother is just watching his happiness. It's all about Cusla, which is related to any relationship regarding the Consolation between Catholics and Protestants to save. But the story is built with deceptive art. Small intervals and small letters become difficult and, when the strings are connected together, the strings rise.
Strip away the politics of this show and it would be almost a hand plead on all sides to stop being evil, to end the violence, and no one would think about the children. But difficulties provide the necessary mistakes. Just as each individual grieves on the rocks of events larger than themselves, we feel pain.
