On re-watching this 90s Irish gem (actually itâs probably, like, my fourth or fifth complete rewatch), I was struck by how subdued the character of Assumpta was in the initial episode. This is something Iâd never noticed before and, though it could be put down to the characterisation not being quite established yet, I prefer to take it as canon. Itâs tempting with the first three seasons of this show to concentrate solely on the major and exquisitely angsty changes that play out in the green Father Cliffordâs life. You can become so caught up in how coming to BallyK changes him, his life, his heart and soul that you donât notice the more subtle changes occurring in his favourite sparring partner and sometime best friend. These changes are less life-changing and more character-building but sneakily apparent as early on as the first season.
When we first meet Assumpta Fitzgerald, she is mildly friendly and mildly snarky. She is softly spoken and gives off an eternally tired, world weary air that ages her beyond her actual years. Her hair is long and limp and left pretty much as nature created it. She wears no discernible make-up and dresses in drab, colourless clothes. She generally wears old jeans with dark tops and faded flannel shirts of blacks, greys and greens. All of this makes perfect sense if you consider that Assumpta is a young woman stuck in grief. She is grieving for her mother, grieving both for her traumatic past and truncated future. This underlying melancholy in Assumpta is best illustrated by the scene in which she watches Father Peter give the last rites to the old mountainy man. (This haunting scene obviously has further meaning and great resonance, after knowing of Assumptaâs ultimate fate). It is unclear how long itâs been since Assumpta returned to BallyK to look after the family business and nurse her dying mother. Counting back from her death at 25 to the age she wouldâve been post-college, it canât have been too long a time. Despite not even knowing this history, the audience gets the impression of a not fully formed adult who feels trapped. Trapped in her home town, trapped in her own grief, trapped by her own fate. Until the new curate moves into the church up the road.
Assumpta continues to occasionally exhibit the soft-spoken weariness of a woman hounded by sadness but, over time, the glimpses we see of her lighter side in the first episode begin to shine more brightly. Her wicked humour emerges, her irrepressible energy returns. She begins to bounce about, hair flying. Her eyes light up, her face animates. She begins to smile, wear her hair differently, wear an array of colours. The presence of Peter Clifford in Ballykissangel seems to light a fire inside Assumpta Fitzgerald, returning her to the fiery presence she probably always was. Her dampened flame springs back to life and begins to burn again. Gradually, over this and two subsequent seasons, we see her transform into the quick-witted, hot-tempered, caper-loving, floral-skirt-rocking, religion-hating, beautiful barmaid we all eventually fall in love with. She grows from a muted version of herself into the technicolour version. From a grieving, frustrated child into the spirited, sensitive woman Peter cannot help but fall for. <3 Â Â