The Close In signals back to the social, political and cultural contexts within which the political plays are embedded and to the Queen’s Theatre in Dublin, which represented the heart of the matter. It briefly recaps that particular brand of popular nationalist theatre as underrated for many in the cultural arena, which continues as a lineage of anxiety. My consideration here suggests that the patriotic plays while stamped with the nationalist emblem as popular theatre can be read in differing ways. That alternative history tells the story of the comic everywoman on the Irish popular stage—her comic agency and subversion as transitory power in that space and as connective clew to her counterpart in everyday experience. The comic everywoman is transmitting to be seen and heard, if only we would let her.