In Brian Friel's Making History (1988), the author presents the process by which minority discourses are obviated and advocates the need for silenced narratives to be given a voice in retrospect. This play, based on O'Faolain's The Great O'Neill (1942), presents the events which resulted in the infamous Flight of the Earls with a dismantling of O'Neill's myth. Friel brings awareness to the erasure of the role of women in Irish history while enacting its recovery by means of the stage. Consequently, Mabel Bagenal, O'Neill's third wife, moves from a backward position to centre stage, becoming the Earl's main counsellor. Furthermore, this character, together with that of her sister, exhibits a different perspective on the colonisation of Ireland from that of the rest of the characters, due to her Protestant ascendency. History is thus disintegrated in as many histories as characters populate the play. In this manner, the writer also succeeds in mirroring the society of the twentieth century's Troubles. With this essay, I intend to reflect the new light in which Friel pictures the character of Mabel and his scrutiny of the different myths which have nourished the collective memory of the opposing factions in the North. Key terms: Brian Friel, Making History, women's empowerment, demystification, Ulster.