BEHIND IRELAND'S SECRET OCTOBER 7 FILES

Reasons and Lies: Why the OCTOBER 7 Play Was Canceled at the NCH

The National Concert Hall (NCH) canceled our plan to perform the OCTOBER 7 play on its stage. We were supposed to have the performance on May 11, but Jewish voices are not welcome on Irish stages. The cancellation came after similar refusals by the Abbey Theatre and Dublin’s Mansion House.

But what excuses could the National Concert Hall have for canceling? The performance was part of a fundraising event for the MDA—the Israeli ambulance service—another worthy cause, along with the OCTOBER 7 play.

We decided to pursue their internal justifications. What were they telling themselves in their rush to censor?

We submitted a Freedom of Information Act request on their decision to cancel. It was quite the journey. First there was a refusal, which did not stand up to the briefest legal challenge.

Eventually, the NCH management conceded that they are obliged to hand over the documents, but in a further breach of their obligations, they sent the most ridiculously redacted/censored documents. They obviously do not understand the words “Freedom” and “Information” in Ireland’s Freedom of Information laws.

But the truth will out, and a senior source in the NCH has sent us the full, unredacted documents. These documents are what the NCH wanted to hide, and they are a treasure trove of self-pity, delusion, cowardice, and misinformation. They are also vaguely ridiculous.

Below is an analysis of the most significant parts of the censored documents.

To see every page of the full, uncensored documents, go here.

So why did they cancel? Would the secret ruminations by cowardly bureaucrats at the taxpayer-funded NCH shed any light on this? Well, they tried to hide it from us. But let’s look at what is behind the NCH black boxes.

In the documents, the NCH claims that hosting the MDA/OCTOBER 7 event could threaten their "politically neutral” stance.

We have pointed out previously just how ridiculous this is.

Here’s just a flavor of what passes for political neutrality in Ireland’s taxpayer-funded National Concert Hall….

First, one of the NCH’s favorite artists is Irish folk singer and social justice warrior, Christy Moore. He has performed the very anti-Israel song “Palestine” at the venue. How do we know this?

Because the NCH Head of Programming, Gary Sheehan, very publicly shared his approval of the performance. The song “Palestine” talks about Israel as an occupier, settlers from far away…with blood on its hands, iron fists, and in some versions, the lyrics talk about jackboots on the neck of Palestinians.

And let’s not forget the time that the NCH hosted a pro-Palestine rant by author Sally Rooney.

But they couldn’t allow a play with the voices of Israelis who survived the worst massacre of Jews since the Holocaust because they are politically neutral? What a joke.

The NCH also sent us this document: “Briefing document on the Risks and Impact on the Private Event.”

As you can see, it is almost completely censored—some of these boxes had titles, which only indicated what we were missing but no details at all.

The truth behind the black boxes? They feared losing money.

Below is part of the unredacted text—what they didn’t want us to know. It is in yellow (for cowardice). Remember, if you want to see the complete uncensored, unredacted documents, go here.

_____

Financial Risk

Medium to Long-Term Financial Risk

Reputational impact arising from the event taking place may adversely affect future income, including:

• Reduced ticket sales

• Decline in hire of hall demand, including associated box office commissions

• Withdrawal or reluctance of donors and sponsors to engage

There is a material risk that the financial impact extends beyond the event itself, with potential erosion of core commercial and fundraising income in the short to medium term.

_____

These cowards canceled the play because they thought they might lose donors and ticket sales simply for having Jewish voices on a stage retelling their experience of the biggest massacre of Jews since the Holocaust. Keep in mind that this was a private booking, so they were also turning down a significant rental payment for what would’ve been a dark evening for the venue. But wait, there’s more.

The NCH also thought they would lose sponsorship and membership fees simply for putting the truth about Israel on stage in Dublin in 2026. Here’s what they showed us, or rather didn’t show us, under the “Stakeholder and Sponsors/Members” section. More black boxes.

And here’s what’s behind the curtain. Again, part of what they wanted to hide is below in yellow. For the full uncensored documents, go here.

_______

Stakeholder and Sponsors/Members

Donor and sponsor confidence

Position and risk to current supporters

Although partners and sponsors have been supportive to date, it is inevitable that they will distance themselves publicly or quietly if they are in any way exposed to further negative media attention. Once one partner is lost, this will send a message to other partners and prospects. There is a significant risk that there will be a reduced willingness to renew or expand support, partners will err on the side of caution to protect their brand. Several grant applications are currently under review by various trusts and foundations. Any perceived controversy has the potential to negatively affect the outcome of our applications.

Our members represent one of our most loyal and long-standing constituencies and are central to the organisation’s identity and sustainability. Any loss of their trust or support carries a significant and potentially irreversible impact.

_____

There was also a paragraph about the “Lack of control over online messaging,” but this is how many euros… I mean “partners” they are worried about losing.

_____

Detrimental long-term legacy impact across philanthropic and partnership activities

Ultimately, without the support of our partners and donors (approx. €400,000 per annum), we will be unable to deliver key programmes across NCH Discover and our artistic programme. This will have a detrimental impact on the opening of the NCH Discover Centre and our planned activity. The reputational damage as outlined above will leave legacy issues which will create a challenging environment for the organisation to secure sponsorships/major donations for many years to come.

_____

So...the NCH believed that having Israelis/Jews talk about surviving a massacre could become a PR nightmare for them, and they could lose corporate sponsors as a result. Aren’t progressives supposed to be against the influence of corporate money on the arts? Where’s the outrage at the corruption of corporate sponsorship on the arts?

That’s not all. The NCH senior staff have the weirdest definition of diversity (like most people who claim to be in favor of diversity).

They had a section in the briefing document about the artistic community called “Artists and the Sector.”

Again, despite the Freedom of Information Act, they were very coy in sharing their insights with us.

But we have the uncensored content, and this is probably the most unintentionally funny part of their briefing document.

_____

Artists and the Sector

The Irish artistic and musical community have taken a variety of strong and clear stances on the issue of Gaza. This ranges from Kneecap’s well publicized position to artists declining to appear at SXSW and major festivals and most recently to a letter of objection from artists to the location of the Israeli Pavilion at the Venice Biennale. NCH’s programming is characterized by its progressive and inclusive approach to both different musical idioms and traditions as well as to the community of musicians.

A musicians protest to the the event or boycott of NCH would cause significant damage to our programming audiences and reputation. As of now this is restricted to disappointment amongst our customers and online commentary. However the risk of protest from the sector remains an issue.

_____

They actually have written that Irish artists have taken a “variety of stances” on the issue of Gaza.

This is delusional. In the document, they list some of the stances taken by Irish “artists,” and they vary from pro-Hamas KNEECAP, who have supported the very organization that carried out the October 7 massacres, to those who want to boycott anything Israeli. They mention artist boycotts of Israeli contributors at SXSW arts and culture festival in Austin, Texas. And they also describe how artists objected to the mere presence of the Israeli pavilion at the Venice Biennial. In other words, no variety at all. The artists’ reactions vary from supporting the murder of Jews to hating and objecting to the very presence of Jews/Israelis at artistic events.

The briefing document then goes on to state that NCH’s programming is “characterized by its progressive and inclusive approach.”

And so in the strange bubble of the NCH, nothing says “inclusive” like falling behind the popular opinion and excluding voices from its stages.

Of course, the arts sector is full of the most aggressively progressive people on the planet, but what they believe is progressive is actually incredibly regressive. And there is nothing more regressive than antisemitism.

The document further stated that if musicians protested or boycotted, there would be “significant damage to our programming, audiences and reputation.”

So they were scared of a few musicians who might not like an event that they would not be part of. We should call them the Artists Against Diversity group.

And the uncensored documents also revealed the NCH staff were the antisemitic tail wagging the cowardly dog.

Below is the section we received on how the NCH staff felt about the performance of OCTOBER 7.

What the unredacted document actually reveals is that almost all of their 44 Front of House staff members refused to work the event. Below in yellow is part of the document they censored. Remember, to see the complete uncensored documents go here.

_____

It is also important to note the potential for permanent staff to refuse to work at the event, and how the NCH will address this in accordance with our policies and procedures. Front of House staff are contracted as casual employees and retain the right to refuse work, out of a pull of 44 staff, 37 have already contacted management to say they are not available and of the remaining staff a number had already declared their unavailability due to exams and holidays. So, there are effectively no Front of House staff available for the event.

_____

In the “Assessment of Risks” document, they state that most other staff were “unwilling to work,” and they described emails from staff that “convey severe disappointment with the NCH being involved with this event.”

But don’t just take our word for it:

_____

Numerous staff emails convey severe disappointment with the NCH being involved with this event. This is particularly concerning at this juncture when the NCH has gone to considerable efforts to build trust and morale, potentially heightening the challenges ahead.

_____

Last but certainly not least: the NCH had “Reputational” concerns with allowing Israeli/Jewish voices to be heard—concerns that were apparently too sensitive to release to the public. Below is the censored document they released to us.

The truth? We have the full, uncensored text. It’s mostly some weird idea/justification of the cancellation on the grounds that media coverage of their events is somehow a negative. They also claim to fear that the public would think they endorse the views of the organizations taking part in the event—in this case, the MDA and, of course, we, who have produced the OCTOBER 7 play. Strange rules they play by. They can endorse a singer, Christie Moore, singing a violence-supporting song called “Palestine, and somehow the cheerleading of this song and singer is considered politically neutral.

The NCH is concerned about appearing to support a play featuring Israeli voices, but believe their neutrality is intact when their Head of Programming praises a social justice warrior on the NCH stage singing “Palestine,” where the lyrics include:

“Do you dare to resist”

“Stand on the road with a rock in your fist”

It’s clear that in the minds of the NCH leadership, supporting anti-Israel stances, even supporting violence against Israel, is not political, but giving voice to Jewish victims is intolerable. Welcome to Ireland and welcome to the pathetic Irish arts sector. The relevant uncensored part of the “Briefing Document” is below in yellow.

_____

Perception of Endorsement

As is common with politically sensitive events, there is a reputational risk that the public perceives NCH as endorsing the views, positions, or actions of the organising body. This perception has been particularly strong in this instance and is expected to intensify.

Such perceived “loss of neutrality” carries significant consequences, including the alienation of customers, key stakeholders, artistic partners, and community groups who hold differing views. If unaddressed, this perception risks eroding the cultural neutrality upon which NCH’s brand depends.

_____

This section concluded by listing the “impacts” of this one-night play, which included “Risk to future bookings”, artists canceling their performances, loss of sales in tickets and subscriptions, and a “prolonged need” for “brand-repair.” This is Ireland, 2026, when platforming the truth requires “brand-repair.”

The NCH hates the truth. They would rather be with the mob. It’s comfortable there. Ireland is comfortable there.

This is Ireland where Jews are stalked and spat on in a pub, where the penalty for helping a man on a bus is to be abused as a “genocidal Jew,” and where the old antisemitic conspiracy theories are repackaged for the modern age. This was never more obvious than when Dublin city councilors raged that their attempt to strip the name Herzog from a public park—named after Belfast-born Chaim Herzog, who served as Israel’s president in 1983-93—was thwarted by “Israeli intelligence forces” and the “Zionist lobby.”

The examples of Ireland’s surrender to the seductive sirens of antisemitism are actually too numerous to mention. Ireland boycotted the much-loved Eurovision Song Contest, simply because of the presence of the Israeli contestants; the Irish pub— known across the planet for its hundred thousand welcomes is clear that certain people are not welcome, and the Irish pub can be a dangerous place for the few who do wander in.

Not only do these documents display the hypocrisy behind one of antisemitic Ireland’s national theaters, but they also show how powerful our OCTOBER 7 play is.

This story is not over. The OCTOBER 7 play will be staged in Ireland. We will not be silenced. The truth will not be silenced, despite the best efforts of spineless state-funded poseurs posing as artists in modern Ireland.

PS

We are currently involved in a number of legal challenges to bring the OCTOBER 7 play to Ireland, and we are continuing our plans to bring it to college campuses across the U.S. To help us in our efforts, you can donate here. We are a 501(c)(3) and all donations are tax-deductible.

Thank you