Irish Classical Theatre’s season begins with an intense story of social justice, gender inequality, and the personal fortitude it takes to move to another land for a new and hopefully better life. Belfast Girls by Jaki McCarrick is the story of five women departing Ireland for Australia at the height of the 1850 potato famine. The government provided passage for girls – from age 14 to 19 who were supposed to be orphans or foundlings – to Australia, ostensibly to protect them but more obviously to clear the overrun workhouses and poor houses and help populate the Australian territory.

The girls – Judith (Lily Jones), Hannah (Robyn Baun), Ellen (Cassie Cameron), Sarah Jane (Renee Landrigan, and Molly (Solange Gosselin) – all hail from Belfast, they say, and are bunking together for the long (two to three months) passage. They gradually reveal their truths as time passes: who lied about her age, who had borne a child, who wasn’t of “good character,” who wasn’t who she said she was. They also learn about the world beyond the Emerald Isle, reading books that Molly brought on board and other pamphlets and flyers circulating among the passengers which tell of politics and society  in ways they hadn’t dreamed possible. While they may have wanted to wear the proverbial rose colored glasses about their future in a new land, they also come to the realization that they may have been duped into believing that better days were ahead.

This is an intense piece of theatre. Kyle LoConti’s direction is exquisite: you can almost feel the pitch and rise of the steamship as it hit rough waters just by watching the actors throw their bodies in unison across David Dwyer’s stark set. It’s when the lights are lowered that you appreciate Dwyer’s vision as light and shadow suggest the ship’s dark corridors and rooms, thanks to Jayson Clark’s lighting scheme. Diane Almeter Jones gives the props their treatment, from ragged suitcases to vintage books, and a barrel for water and rough-hewn table.  It all works to create a strong backdrop for a powerful story. Shelby Converse as the fight and intimacy director created some polar opposite moments: there’s a vicious struggle that – full disclosure – made me avert my eyes and then there are unexpected moments of tenderness.

Each actor plays her role with a fierce tenacity. Josephine Hogan coached her motherland dialect well here; there was no soft Gaelic lilt. Their voices were passionate and strong with the harsh vowels and sharp consonents. Admittedly, there were moments that were harrowing to watch: these were tough, scrappy girls who were struggling to survive and often those emotions were expressed through violent acts. There were, quite literally, fighting for their lives.

Belfast Girls runs a little over two hours with 15-minute intermission, to October 15. Find details and tickets at www.irishclassical.com.