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Irish Times
5 days ago
- Entertainment
- Irish Times
FeliSpeaks: Life as a ‘black, Irish, queer culchie'
Over the past decade, Felicia Olusanya , who performs as FeliSpeaks, has written themselves into the contemporary Irish cultural canon. Growing up in Longford town, having moved to Ireland from Nigeria (via France) at the age of eight, there have been multiple landmarks along their creative journey to becoming a compelling and well-recognised performer on Dublin's spoken word scene. Yet early on, they imbued their poetry with its own specific cadence, intonations, a musicality that can move like waves, often becoming an enveloping experience for audiences. A moment that felt especially important was in 2017, at a fundraiser for the Repeal the 8th campaign in the Olympia Theatre. Olusanya's capacity to both quieten and command the room was potent. What emerged was a poem written at their desk in the credit union where they worked: READ MORE And who will march for us? For girls who are fattened, bred and fed for men whose appetites fill like basket water, Devoured by never enough. For girls who can point out pain in the alphabet but cannot spell out their own name. For girls, whose identities are buried under the smoke of a kitchen stove, High on the opportunity to serve, at least. They were nominated for Best Performer at Dublin Fringe Festival in 2018 for Boy Child, co-written with Dagogo Hart , and then won the award in 2022 , for their performance in thisispopbaby 's production, WAKE . Their poem, For Our Mothers, was included on the English Leaving Certificate curriculum in 2023. Olusanya has spent the past two years living in Brussels, returning to Dublin in early July. They arrive in Temple Bar on a sunny weekday morning, finishing up a deli pastry. In the Project Arts Centre , we sit at the back of the empty auditorium upstairs, the airy silence interrupted only by a lone technician clearing lights from the stage floor. At this year's Dublin Fringe Festival, this stage will be Olusanya's. Octopus Children, presented by thisispopbaby, is written by Olusanya, who also performs in the piece. Olusanya describes it as a 'choreopoem', using the term coined by the American playwright and poet Ntozake Shange, where multiple disciplines including poetry, music, and dance combine. 'Octopus Children,' Olusanya explains, 'is this idea that we're all connected by water. We all come from the water, the birth canal, we drink water to survive, we're 70 per cent water. I think water is integral to how we live, and one of the things we waste the most. That's the underbelly of the piece. The overbelly, if I can say that, is just trying to figure out where you fit as a person.' These are the tentacles. 'There are many layers people can see themselves in. But being black, and then being black-Irish, and then being black, Irish and queer in a religious setting, in a Nigerian setting, in Ireland, is very specific.' And beyond that, Olusanya deadpans, 'being a culchie'. The idea for Octopus Children arrived in 2021. Olusanya felt the poems landing as songs. 'I could hear a sonic world with them.' They began hanging out with some producers in a garage in Blackrock in Dublin – 'very sweet boys' – working on a concept for an EP. The first piece completed in 2022, Tough Meat, was a video poem directed by Bobby Zithelo . 'Putting that out into the world, I was hoping to leverage that in some capacity – somebody will see it! Somebody will think it's brilliant!' WAKE: Felicia Olusanya captivated audiences in thisispopbaby's hit show, journeying from Dublin Fringe Festival to London's West End and Manchester's Aviva Studio. Photograph: Ruth Medjber In the meantime, Olusanya captivated audiences in WAKE. That show was a hit, journeying from Dublin Fringe Festival to a standalone sold-out run at the National Stadium in Dublin, and then to London's West End, and Manchester's Aviva Studios. The show holds many things simultaneously: chaotically fun cabaret; aerial artistry; breathtaking pole-dancing; club anthems; dance; poetry; Irish traditional music – all combining to become a moving funeral rite and a great night out. In WAKE, Olusanya is a central character – part ringmaster, part preacher, part spirit, part healer, an anchor tethering the audience to the spiritual essence of the show. In rehearsals, Olusanya says that before developing the character, the thisispopbaby team 'really developed my talent and stretched it a bit'. Olusanya relishes a challenge. 'If you've ever grown up in a choir and a Nigerian auntie has been your choir master, girl, you take challenges real well! Nothing can faze you.' [ Thisispopbaby's magic sauce: 'Take Irish traditional culture, add some mirror balls, throw some glitter on it' Opens in new window ] Olusanya recalls telling Jennifer Jennings, WAKE's co-director and co-creator, that the character felt like an offering for the audience. Amid the neon and glitter, WAKE is also about expressing and diffusing grief. 'Grief is so traumatic, and if you're going to address it, you need to bring balm. I feel like that was what I was tasked with,' Olusanya says. At one performance in the West End, they recall 'coming off the stage and I wasn't even thinking about the words, I was being the words ... I vacuum cleaned the grief in the room. There's something so difficult about that, feeling the intensity of people's grief. Take it off their hands, and then offering balm. Oftentimes I'll get offstage and my body is wracked. Hyperventilating. I can't breathe.' An audience in the midst of releasing their emotion – joy or pain – doesn't often consider where that energy goes when those on stage are opening up those channels. 'Energy cannot be destroyed or created,' Olusanya says. 'It can only be passed from one to the next. So if you're releasing and you feel great, I'm determined to swallow it all up. I'll bring it before my chi and my god and release it that way.' They pause to consider that process and experience. 'I felt powerful enough to be able to do that. I've been thinking about power a lot. Once you're aware of your magnitude or power, for me, awareness of my power meant service. You can't be powerful and useless – come on! The more aware of my power I am, the more I submit to the service of other people via my art. That's what I'm here for.' 'For all the weight and darker elements of the work ... Feli also brings a real lightness, humour, and an irony,' says Octopus Children director Oonagh Murphy of Felicia Olusanya. Photograph: Dara Mac Dónaill After the second run of WAKE in Dublin, Olusanya says thisispopbaby asked, 'What do you want to create? What do you have in mind?' Olusanya answered: Octopus Children. 'I made them a little PowerPoint with all the ideas and thoughts, the sounds, the music I had already created. They were like, 'What in the hell? Here's a director. Go sort that out.' They were interested, they were curious. I really appreciated that they wanted to see my perspective on life.' That director is Oonagh Murphy. Murphy says Olusanya is 'a counter voice to what we're familiar with in the Irish cultural imagination. But also the craft of their work is incredible. When you think about how prolific their output is, there is a real discipline ... And there's a deep playfulness there too. For all the weight and darker elements of the work – which need to be given space – Feli also brings a real lightness, humour, and an irony.' [ Sabotage review: Joyously chaotic festival opener has all the fun of the circus Opens in new window ] Working on Octopus Children, Murphy says, 'has felt quite spiritual, magical'. Early on in our conversation, Olusanya refers to 'being the rebel in your family unit'. What does that rebellion look like? Their upbringing, community and family in Longford runs deep. As a youngster, Olusanya was 'a good girl, because I liked the things that I was supposed to like'. They loved school, 'which, if you know anything about immigrant families, this is the one thing '. They loved church, 'because I was very aware of my spiritual nature from when I was very young, and I didn't have any other outlet for it'. They loved going to choir, and being part of a youth group. 'The rebellion started when I hit 15 or 16. I started wrestling with my gender identity without knowing what it was. I didn't even know what those terms were until I hit maybe 21, 22 ... I wore the wrong clothing. I 'girled' differently to how I should have. So my mum was quite worried about that. I also wanted to explore kissing boys and girls, but it was like: that's not something you do. And I was very aware of that.' Around the age of 17, Olusanya recalls taking their younger brothers to the barber shop. 'I came home with a haircut too. My mother said, 'What is the matter?' She was so concerned because I cut my hair.' The rebellion 'ramped up' in college in Maynooth, where they were studying English and sociology, 'because I decided to leave Christianity'. Then, there was coming out as queer. 'I came out by accident. I didn't know I was coming out, I was just talking about being queer on Instagram.' I want black Irish girls, or non-binary people, or gays, to be like, 'Ahh! That's a bit of me!' — Felicia Olusanya on Octopus Children Olusanya had attended Dublin Pride, alone, 'so excited, just taking it in, like wow ... I came back from my first Pride parade, and I made a whole Instagram post – as you do when you're 23 and stupid. I was so excited, saying all my thoughts, and I forgot church people followed me. My mum followed me, obviously. She commented, 'Mum's got your back always.' It was really beautiful in that moment. However, some tricky conversations in the community in Longford followed. 'You know in the movies where they want to pray the gay away? They're really serious about that, you know… I was like: I like my gay. I'm not giving up my gay… That in itself was a rebellion.' On the hurt this induced, Olusanya says they 'would rather that pain, than the pain of hiding'. Tears pooling in Olusanya's eyes, they express empathy and understanding for the context. 'That in itself is complicated and confusing, and requires all the emotional intelligence in the world to navigate. But yeah,' they say, brushing the tears away, 'that's also in Octopus Children.' Olusanya flips the atmosphere into a moment of unexpected lightness, 'Do you know what? The Laya Healthcare ad helped!' Laughter fills the empty theatre. 'Do you know how cool it is when you're on billboards? They get over the gay stuff quick!' In late 2021, Olusanya appeared in a campaign for the health insurance company, bringing their image and words on to television screens and billboards across Ireland. I suggest that this feels like a quintessentially Irish experience, but perhaps one more associated with another time. Olusanya nods, connecting the social attitudes of older generation white Irish people to first generation Nigerian-Irish. 'I don't like saying this, but that's how far away we are in terms of where we should be. I'm not saying white Irish Ireland has it all figured out, but in terms of the queer thing? It just feels like the story is a 1980s Irish experience. It feels like a time-travelling experience. [ Taylor Tomlinson at 3Arena review: more personal, more vulnerable but few surprises Opens in new window ] 'When immigrant black people come here and they make black Irish children, they're not expecting the assimilation that we experience. My parents and their peers came purely out of survival – 'at least you're going to have a fighting chance'. When people come from a survival mentality and you're trying to operate from a thriving mentality, they're terrified. Because even though they do want you to thrive, they don't know what that looks like. And so there is this push and pull between: 'I want you to be better and that's why I brought you here,' versus, 'What better looks like is really confusing and alienating for me as the mother or father or family that brought you here.'' This can cause, Olusanya believes, a 'disconnect' between some black youth in Ireland, and their parents and older relatives. 'It's either thrive and evolve, or we just end up replicating our parents. So that 1980s connection is so interesting. There's half of us who are like, 'F**k it, I'm going to take this opportunity to thrive beyond the economic.' Because, no word of a lie, black Irish people my age? Disgustingly equipped and educated. They have masters degrees for no reason, bruv! What, to work in a Centra? Relax!' The Centra line is obviously a joke. 'They're taking over Google! What's going on?! Educated to s**t. Lawyers, medical doctors. We're not playing it small, because we're not allowed to. We're not allowed to play it small, because survival involves going all the way up here,' Olusanya raises their hand. 'But that's economic survival.' The social and spiritual aspect, they say, is another thing. Felicia Olusanya describes Octopus Children as a 'choreopoem', in which multiple artistic disciplines combine. Photograph: Dara Mac Dónaill I wonder whether the reaction Olusanya experienced to them being queer was also about a fear of another layer of oppression to contend with in a racist society. The conversations Olusanya had with family and others, they say, were 'not about hate, it's about fear. They were terrified, because they've built these communities and structures that incubate them safely. When you pop out of it for work, to socialise, you can still come back home. Even if I get racist experiences at work, there's a whole community that have my back I can come back to, so that is a temporary experience. That's how I think the older generation view it. Whereas if you're then gay, it's not the thing that's going to break you out 'there' in the white Irish world, but it will,' - or may - 'in the home that we've all built that's supposed to support you no matter what.' 'I want us to be able to have our communities, grow our communities, and not be caged by our communities, because that's also what's happening when people come from a space of survival, psychologically. I can't wait for a couple of generations where our people feel completely safe, that there isn't a demarcation. Sociologically and psychologically we all do this: you're drawn to people who are more like you, that's normal, so you'll always have those type of communities anyway. I'm not saying we need to dismantle our safety in our community in order to integrate. That's not what I'm asking for. But what I am saying, is to free ourselves from the limitations that the survival of our communities has brought. And one of those limitations,' Olusanya says, is a feeling 'that you can't be queer. Especially not out loud.' They have just returned from two years in Brussels, a place Olusanya went to out of a sense of adventure and 'safety, because it felt like the country held me well - I visited several parts of of Belgium before settling in Brussels - and I didn't want to go to London especially, very Dublin 2.0 vibes.' Living there, they were exposed to 'a type of freedom and blackness that I had never seen before or experienced', as well as new forms of dance and jazz. Now, Olusanya is ready for the next phase. They hope what Octopus Children does is make people 'one, feel visible in multiple ways, per tentacle. But two, that it frees us from the limitation of our own community – seeing a 'me'. I've come to accept – and no ego s**t – you just end up being a pioneer. You don't want to be a public figure, you don't want to be the person people look up to. But if you're going to do something different, you're going to end up being that ... With this show, I want to show my community – black Irish people – and the white Irish community, that this weird layered person-being can be visible, and it's completely okay. Visible and celebrated. I want black Irish girls, or non-binary people, or gays, to be like, 'Ahh! That's a bit of me!' and not feel like there's no representation. I hate the word representation, but it's so f***ing important. But I don't want to be the only one. I want to be able to make Octopus Children so octopus children can find it, so there can be a community of us, so we're very visible, very loud.'
Irish Independent
20-07-2025
- Sport
- Irish Independent
St Patrick's Athletic hit UCC for eight in FAI Cup clash as Longford strike late to sink Castlebar
The Saints have been struggling in front of goal domestically of late, having scored just one in six games before yesterday's clash against the Cork outfit, but Stephen Kenny's men eased to an 8-0 victory at Richmond Park, where Chris Forrester was among the goalscorers with a brace. It took St Pat's, who have lifted the FAI Cup twice in the last four years, just 19 minutes to find the breakthrough through an unfortunate Colm Murphy own-goal, before three strikes in five minutes from Forrester, Aidan Keena and Brandon Kavanagh just before the break firmly put the tie to bed. Kenny's men raced out of the blocks at the restart with Jake Mulraney finding the net just two minutes after being introduced, while Al-Amin Kazeem and Conor Carty also struck past the men from the Rebel County. Forrester bagged his second minutes after the hour mark as the Inchicore side eased their way into the third round, with the draw set for Tuesday afternoon. It may have been one-way traffic at Richmond Park but it certainly wasn't in Mayo, as Longford Town needed three late goals to avoid a shock and book their place in the third round after being pushed hard by non-league Castlebar Celtic, the First Division side eventually emerging with a 6-3 win. A remarkable first-half saw the sides each score three goals, with Longford's Daragh Murtagh netting a hat-trick while Mark Cunningham, Eoghan Hughes and ex-Sligo Rovers striker Jordan Loftus finding the net for the Connacht outfit. The tie was heading for extra-time with the score remaining at 3-3 going into the final 15 minutes, but the visitors hit three late goals through a Dean George double either side of Francis Campbell's goal to ensure their name was in the hat for the next round. Wayne Groves' side have won the FAI Cup just twice in their history, in 2003 and 2004, with their last final appearance coming in 2007. The victories by St Pat's and Longford meant that every League of Ireland side progressed to the third round of the FAI Cup this weekend.
Irish Times
15-07-2025
- Irish Times
Two doctors and a secretary accused of stealing money appear in court
Two doctors and a secretary charged with multiple counts of stealing money under a state-funded healthcare reimbursement scheme and submitting false claims to the HSE have appeared before Longford Circuit Court. Doctors Muhammad Azam (59) and Waqas Farooqi (46) and secretary Gillian McCord (56) were before Judge Kenneth Connolly on Tuesday. The court heard the three had only recently been served with the book of evidence and counsel needed more time to go through it. The three defendants face a combined total of 135 charges, including 20 counts of theft and 22 counts of using false general medical services claims or out-of-hours payment forms. READ MORE Those false claims related to 12 different patients at the Primary Care Reimbursement Services, Exit 50, North Road, Finglas, Dublin 11. Dr Azam, of The Rocks, Stonepark, Co Longford, faces a total of 48 charges. Dr Farooqi, of Belvedere Hills, Mullingar, Co Westmeath, is facing 47 charges. There are 42 charges brought against Ms McCord, of Knockanboy, Co Longford. It is alleged the three accused used false medical documentation to indicate that patients had received medical services. Dr Azam and Dr Farooqi were also charged with multiple counts of money-laundering within the State between October 2017 and December 2019. All three were remanded on continuing bail to reappear in court on October 28th.
Irish Independent
14-07-2025
- Sport
- Irish Independent
Louth boss Kevin Larkin says no patting themselves on the back ‘just yet' after semi-final win
It was a cagey enough opening to the game but once Louth moved into the lead, boosted by Eimear Byrne's goal, the floodgates started to open. 'We know the more patient we are, we will wear down defences because we've great players like Aoife Russell, Eimear Byrne and Kate Flood who will unlock defences so it was all about when that chance came - we took it and in fairness to Eimear, she took a great goal,' said Larkin. 'It's a great feeling and these days are to be enjoyed as well like you know but, we're still in the hunt for that [All-Ireland] trophy so we won't pat ourselves on the back just yet.' With a big lead at the break, Larkin acknowledged the message to his players was to stay focused, not do anything differently and to try and push on in the second half but also, that they needed to tidy up a bit. 'There was a few fist passes and just basic unforced errors that was just a bit silly,' said Larkin. 'It gave Longford a bit of momentum but to be fair to the girls, when they came out in the second half, they tidied that up, they tagged on a few scores and it was just a great performance.' Louth have a few weeks to prepare for the All-Ireland Final which takes place on August 3 in Croke Park (11.45am throw-in). The chance of a Junior Football Championship crown is what Larkin set as his side's main goal at the start of the season – he has that one big objective still to fulfil. 'Look, it's great to get to Croke Park and that's good in itself but we still have unfinished business there and like I said before, we won't be happy until we're watching Áine Breen [Louth captain] walk up the steps and that doesn't change,' said the Louth boss. 'We still have a job to do and I'm just looking forward to the next three weeks because it's a nice thing to have, to be preparing for an All-Ireland final, but by God will we be prepared.' A lot of 'hurt inside from last year' For Aoife Russell too, there is some unfinished business in Croke Park and while she acknowledged there was a lot of 'hurt inside from last year', when Louth lost by a point in the final to Fermanagh, she wants to go back and rewrite the wrongs of 2024. 'We know what we're capable of as a group, we don't believe that we should be playing at the 11.45am time in Croke Park in three weeks, so now we just need to go back there and prove to everyone that we do deserve to be playing at intermediate and go beyond that and play at senior level in the near future,' said Aoife. 'Without being any way cocky, we just believe that we can go further, we deserve to be there and that's the end goal at the end of the day, to keep powering on and to keep pushing on. 'Especially for the younger girls coming through and then the girls coming from the under 16s and minor level, we know that we believe and we deserve to be up playing at a higher level so that is the end goal at the end of the day.' In terms of the Longford game, while the sides were matched in the opening stages once Louth got a run at them, they showed their quality in what was, for the most part, a commanding performance. 'We came here today with utmost respect for Longford,' Aoife said. 'We knew they were going to put it up to us. We knew that at the end of the day we only beat them by a point in the last game but that wasn't us, that wasn't our real performance. 'We had an off day and again we came back here today to prove that that was an off day. 'We should be beating Longford by more than just a point and that's what we did today and yeah, we're going to keep powering on for the next three weeks and hopefully we'll be home with the trophy and that's the goal.' Particularly strong for Louth on Sunday was the midfield paring of Áine Breen and Aoife Halligan who, considering the heat, put in trojan work all over the pitch. Up front, there was a lot of slick passing, some great movement and it was clear that there is a strong understanding between Aoife Russell and her forward colleagues, with the Glen Emmets player herself contributing three points from play. However, with 10 points and producing a performance Longford couldn't deal with, Kate Flood was in scintillating form but, as Aoife agreed, Louth have so many other players who are more than capable of getting into the scoring act. 'Kate's phenomenal, she's an inspiration, a role model to everyone,' Aoife said. 'The girls inside the camp and girls outside the camp but like you said, there's girls there, whether that be wingbacks, full-backs, half-forwards, it doesn't matter who it is at the end of the day, and it doesn't matter who gets on the team sheet, and we always say that every week, it does not matter who gets the scores. 'It doesn't matter whose name is in the paper, at the end of the day, we all contribute to those scores…and that's the main thing.' In terms of the next three weeks and how Louth will approach the final, compared to 12 months ago, Aoife was quite adamant about what that approach will be. 'We keep the routine, keep the same rituals and we go again.'
Irish Independent
13-07-2025
- Sport
- Irish Independent
Flood on fire as Louth Ladies book All-Ireland JFC final place in emphatic style
After Sunday's comfortable defeat of Longford in the semi-final at Clones, they are just 60 minutes from that All-Ireland goal. The two sides met in the Leinster Junior Championship earlier this year when it took two late points from team captain Aine Breen to edge her side past Longford. However, there was to be no repeat of that scenario on Sunday as Louth dismantled the Longford challenge proving too strong throughout the park, to be full value for their 11-point victory. Louth had all the early pressure in the opening minutes with a Kate Flood effort coming off the upright two minutes in and another chance from Aoife Russell smothered by a Longford defender when a score looked on. It was Longford however, who opened the scoring when good play from Grace Kenny and Kamille Burle set up midfielder Aoife O'Brien with a chance which she accepted gratefully to put her side 0-1 to 0-0 in front after five minutes. Louth responded two minutes later with Flood converting the first of her five opening half frees following a foul on Lucy White. Longford had the chance to restore their lead on 10 minutes when Burke, after putting her initial shot wide, was awarded a free 25 metres out but missed with the ball coming off the upright and cleared away. Flood put Louth in front on 13 minutes, pointing her second free after a foul on Ceire Nolan but Longford drew level a minute later when Sian Gallagher won her own side's kickout, found full-forward Clodagh Lohan who off-loaded the ball to Shauna Hagan to tap over a point to make it 0-2 to 0-2 on 14 minutes. However, that was to be Longford's last score of the half as Louth completely dominated the second quarter. Two converted Flood frees put her side 0-4 to 0-2 in front on 17 minutes and with just under three-quarters of the game to go, a goal from Eimear Byrne realistically marked the end of the Longford challenge. ADVERTISEMENT Learn more Byrne's goal came from a turnover at midfield where Breen won possession, took the ball forward before delivering as low ball into Aoife Russell who fed the in-rushing Eimear Byrne. A shimmy sent a Longford defender the wrong way allowing the St Mochtas player the space to blast the ball past Aoife Cooney in the Longford goals. Louth turned over the resultant kickout and this time Aoife Russell was the beneficiary at the end of a four-player move started and finished by Ceire Nolan who set Russell up for a point. Longford's cause wasn't helped with the sin-binning of Mairead Victory following a foul on Louise Byrne on 28 minutes as Louth continued to dominate finishing off the half with two more Flood points, one from a free as Louth went in a the break with a healthy 1-7 to 0-2 lead. Longford looked like they might make a game of it as they maintained early possession after the break but they could find no way past a defence where Eilís Hand and Eimear Murray were proving impossible to get by. Even the return of Victory from the sin-bin did nothing to lift Longford and when Flood and Russell extended the lead out to 1-8 to 0-2 nine minutes into the second half, the game was effectively over. Longford did have the ball in the net on 40 minutes when Burke dropped a free into the square which was caught by Katie Crawford who turned and kicked the ball to the net. However, the referee, in consultation with her umpires, deem it a square ball – much to the consternation of the Longford supporters. Louth almost got in for a second goal when a ball in from Breen came Eimear Byrne's way but her shot was deflected out for a '45. A point from Lohan brought some cheers from the Longford fans but the response from Louth was five unanswered points with Flood (3) Russell (1) and Nolan (1) all on target to lead 1-14 to 0-3 after 54 minutes. Lohan, after a good run through the Louth defence, got her side's fourth point of the afternoon and Burke added two more, one from a free but at 1-14 to 0-6 with time up it did nothing but dress up the final result a small bit. Antrim will now face Antrim in the All-Ireland JFC final after they defeat Sligo, 3-10 to 1-10 in the second semi-final at Clones on Sunday. The game will take place in Croke Park on Sunday August 3, with an 11.45am throw-in. Scorers: Louth - Eimear Byrne 1-0, Aoife Russell 0-3, Kate Flood 0-10 (5f), Ceire Nolan 0-1 Longford - Kamille Burke 0-2 (1f), Clodagh Lohan 0-2, Sian Gallagher 0-1, Shauna Hagan 0-1, Louth: Rebecca Lambe Fagan: Rachel Beirth, Eilís Hand, Eimear Murray; Seoda Matthews, Shennan McLaughlin, Louise Byrne; Áine Breen, Aoife Halligan; Lucy White, Eimear Byrne, Aoife Russell; Holly Lambe Sally, Kate Flood, Ceire Nolan. Subs: Caoimhe Boyle for McLaughlin 45, Ciara Woods for White 53, Gemma McCrave for Lambe Sally 54, Mischa Rooney for Byrne 59, Mia Duffy for Breen 59. Longford: Aoife Cooney; Grace Kenny, Leanne Keegan, Ailbhe Brady; Caoimhe McCormack, Eimear O'Brien, Ella Duggan; Sian Gallagher 0-1, Aoife O'Brien; Shauna Hagan 0-1, Katie Crawford, Ella O'Reilly; Kamille Burke 0-2 (1f), Clodagh Lohan 0-2, Mairead Victory. Subs: Ciara Mulligan for Ella O'Reilly 28, Edel Sheehy for Aoife O'Brien 42, Emma Bleakley for Talabi 53.
