Abbey Theatre, 'Major Barbara': What Price is Salvation Now?

Photo: Ros Kavanagh

Abbey Theatre

Aug 7-Sep 21

My review of Major Barbara by George Bernard Shaw coming up just as soon as the vulgarity of it positively makes me ill ...

Theatre Festival Reminds Us of Ireland's International Standing

Estragon, Vladimir, Pozzo, Lucky and the Boy are back.

The Dublin Theatre Festival (Sept 26-Oct 13) line-up was revealed yesterday.

"Come Out to Play" is the header of this year's programme, and from looking at it you'd think that it's a message meant especially for the international community, as if Festival Director Willie White is saying: "Dublin is ready to play"

Last year's programme was heavily dependent on home-grown artists - a circumstance possibly due to the lack of a replacement sponsor after Ulster Bank. Still, it was a strong festival that put the best of Irish theatre into action (it was great to see The Corn Exchange landing the Gaiety stage and The Company graduating onto a bigger platform) as well as hosting acclaimed international acts such as Elevator Repair Service, Forced Entertainment and the Wooster Group.

There are many more performances being flown in this time around. Richard Maxwell's New York City Players come from the height of NYC's experimental downtown scene with Neutral Hero. Listed as one of the top ten shows of 2012 in the New York Times, this tells the story of a man searching for his father in the wide open landscape of the American Midwest using the company's unique neutral style.

We also have the Royal Shakespeare Company's production of the narrative poem The Rape of Lucrece performed by the sensational Camille O'Sullivan. Pushing the boundaries of contemporary circus, Australian company Circa deliver their "exquisite cabaret of the senses": Wunderkammer. From Portugal comes Mundo Perfeito's Three fingers below the knee - a performance informed by the archives of the censorship commission established during Salazar's dictatorship which exposes the oppression of artistic and political freedom felt during that time. While The Events - the most recent play by Scotland's acclaimed dramatist David Greig - comes to the Abbey's Peacock Stage.

Speaking of which, the Abbey will be the site of the first original Frank McGuinness play there (or anywhere else?) in fourteen years. The Hanging Gardens promises to be a  familiar portrait of the Irish family, centering on a writer and the tensions in his family(*). The original play comes after a lengthy string of adaptations at the Abbey such as John Gabriel Borkman and The Dead, and is directed by Irish director supreme Patrick Mason. While over at the Gate, director Wayne Jordan tackle's Bertolt Brecht's The Threepenny Opera - the "epic masterpiece of 20th century musical theatre". Brecht never seems to be performed in Ireland, and it's nice to see the Gate re-introducing him to an Irish audience (considering its historic role as being the Irish hub for the hits of European modernism back in the day) injected with Jordan's fresh and chic vision (Alice in Funderland anyone?). You might also want to drool over the cast lists for both shows


(*) Calling it now: the son character described as "struggling for his father's acceptance" is homosexual. It seems to be McGuinness's go-to insecurity in a male character, as seen in 'The Sons of Ulster Marching Towards the Somme' and 'Dolly West's Kitchen'.


Of course, in a time when Brecht was pushing the form and Ireland's dramatists seemed concerned only with insular matters and basic modes of realism, we could claim Samuel Beckett as our proud contribution to the world of European modernism. Waiting for Godot comes to the Gaiety Theatre from acclaimed Beckett interpreters: the Gare St Lazare Players. Continuing to represent Irish theatre's ability to innovate, with their own unique incorporation of international styles, The Corn Exchange turn to Eugene O'Neill's early American masterpiece Desire Under the Elms. Whenever I see that The Corn Exchange are doing an adaptation part of me hopes that they push their commedia dell'arte masks to the max, as they did in their adaptation of Chekov's The Seagull way back when. Commedia's stock characters are locked in specific and extreme emotional states, and so are antithetic to the dominant mode of psychological realism where characters undergo behavioral change. The clash between both performance traditions has wielded fantastic results in the past.

Both members of Operating Theatre (Ireland's seminal avant garde company) are also in here, with Olwen Fouéré's riverrun celebrating the elemental journey of Anna Livia Plurabelle in James Joyce's Finnegan's Wake, and an in development showing of Roger Doyle's opera about the Renaissance genius Giordano Bruno.

Unfortunately, Irish Theatre Institute's ReViewed series seems to be missing. This initiative brought back strong productions which were felt deserving of a wider audience.

Also: the ghost of Maeve Brennan returns as Eamon Morrissey reveals how the Irish-born writer for the New Yorker caught up with him in his one-man show Maeve's House; Richard Brinsley Sheridan's 18th century satire The Critic receives a new production by Rough Magic; and Theatre Lovett take on the Brothers Grimm with A Feast of Bones.

Ultimately, this year's Dublin Theatre Festival aims to prove Ireland's abilities to host the cutting edge of international theatre, while simultaneously demonstrating that Irish theatre has a significant part to play.

Towards More Landmark Plays

Cillian Murphy in Misterman fighting against the trend of 'fundraiser plays'

One of the oldest rules in the book to guarantee a theatre company's survival has been to build a repertoire of plays, preferably ones that have earned a buck at the box office. The strategy is to draw on past hits, specific to the company or to the commercial theatre in general, and use funds to stay afloat. These fundraiser plays are safe and they may feel like nothing new but sometimes they're used to fund a later production that is compellingly new, rich with risk and innovation, something that will stay in your memory for years to come: the landmark play. What merit we can award a company depends on how that balance is struck between the fundraiser play, with its necessities of survival, and the landmark play, which can truly advance the artistry of the company.

Abbey Theatre, 'King Lear': The Weight of this Sad Time

Abbey Theatre, Dublin
Feb 12-Mar 23

My review of King Lear coming up just as soon as I'm not so young to love a woman for singing ...

THISISPOPBABY and the Abbey Theatre, ‘Alice in Funderland’: Curiouser and Bleerun’ Curiouser!

The Abbey Theatre, Dublin

Mar 30-May 12

My review of Alice in Funderland coming up just as soon as I provoke you by failing to distinguish between a cravat and a scarf ...

Abbey Theatre, ’16 Possible Glimpses’: The Long Goodbye

The Peacock Stage, Ulster Bank Dublin Theatre Festival

Sept 30-Oct 29

I don’t have time to write in depth about Marina Carr’s 16 Possible Glimpses. I was interested in seeing Carr craft a literary response to Chekov but the unfortunate result is a clumsy exposition-forced soap opera which isn’t particularly memorable.

Patrick O’Kane, Cathy Belton, and Caitríona Ní Mhurchú fall victim to the over-stated content of Carr’s prose here, resulting in cringing and irritating performances from some of the industry’s finest. As usual, director Wayne Jordan makes the most of a crowd, inspiring elegant choreography from his blocking and scene changes. His use of a live video feed though never finds its purpose. Hugh O’Connor’s footage and Sam Jackson’s music arrangements provide beautiful backdrops to this very confused piece.  When the play takes to a mediation on writing and ‘the artist’, and Chekov and Tolstoy exchange portfolios, we wonder if the subject of ‘eloquence’ has flown right over the head of one of our once most fearless voices.

What did everybody else think?   

A Guide to Ulster Bank Dublin Theatre Festival 2011

Finally diving into the programme for this year’s Dublin Theatre Festival. Last year, as evidenced by the reviews I wrote, I took a particular interest in the postdramatic segment of the schedule, seeing Ontroerend Goed, Tim Crouch, Pan Pan.  It probably was a gamble on festival director Loughlin Deegan’s part to give weight to such unconventional theatre. Not only were many of these productions deemed popular and critical successes, but the gesture of programming them shows that Deegan would sooner overestimate the ‘performance’ of the Irish audience before underestimating, as members of the public were made sit and chat with neighbours and whisked away into booths with strangers.

What is of most interest to me in this year’s festival, and what you’ll see written about around here, is the strong Irish involvement. In his fifth and final instalment, Deegan is focusing on our home-grown artists. Many past participants of Theatre Forum’s ‘The Next Stage’ development programme, which runs in tangent to the festival, are now featured artists. If this year’s festival is to be remembered for anything it will probably be for opening the golden gates to the next wave of Irish theatre makers.

But for now let’s focus on the present and dive right in. Find below my thoughts on this year’s programme and observe as I – like in my guide to the Fringe – try to narrow these choices down to my six must-gos.

Musings Listings: February 2011

With many of the country’s greatest theatre acts taking off these days to tackle America with Culture Ireland’s ‘Imagine Ireland’ scheme, Dublin theatre audiences appear to have been left at the mercy of oestrogen-empowered comedies such as Calendar Girls in the Grand Canal or Adele King’s Grumpy Old Women in the Gaiety. While these large-scale, internationally-toured productions are sure to bring in the big bucks, there are a lot of local performances to be excited about also. Indeed, February 2011 can be characterised as a month of Irish theatre where the parents have gone away on business and the kids are now out to play.

Wish I had seen ‘Medea’: Irish Times Theatre Awards Nominations

It’s been over a week since the Irish Times Theatre Awards nominations were announced, and I was too busy working on a show at the time to write my thoughts on them.

First: I’m glad to see Pan Pan’s The Rehearsal, Playing the Dane (*) is a contender for ‘Best Production’. I was curious to see how the judging panel would grade the show considering its postmodern nature and the indefinite variables in its live performance (I wonder how our three Hamlets were considered in the ‘Best Actor’ category?). No show had more confident a harness of theatricality this past year than Playing the Dane, and while Gavin Quinn has carelessly been excluded from the category for ‘Best Direction’ it’s great to see fellow Pan Pan genius Aedín Cosgrove get recognition for her set design. By also throwing Anu Productions’s World’s End Lane into the dogfight, the judges have admirably chosen to acknowledge theatrical ingenuity not only in performance that is strictly traditional but also in the increasing output of postmodern work as well.

(*) The Rehearsal, Playing the Dane review:

http://musingsinintermissions.blogspot.com/2010/10/pan-pan-rehearsal-playing-dane-bins.html#more

Most prominently felt in this shortlist is Siren Productions for their performance of Medea (pictured above) in the Fringe, which has bagged five nominations including ‘Best Production’, ‘Best Director’, and ‘Best Actress’. I didn’t see the show but I have heard good things, and would be interested to hear from those who saw it if they think it deserves such attention.

Musings Listings: January 2011

Happy 2011! One of my resolutions this year is to make this blog brilliant. One of the areas I feel that need improvement is promotion. Indeed, most of the shows I write about have finished their run by the time I get my pieces about them up. Thus, welcome to a new feature of Musings: a monthly listing of the shows that are on during the given month.

I’m happy to see that January 2011 is notable for other than the panto procession which usually dominates this time of year (though if you do fancy seeing Jafar, Abu, Iago, and company then the Gaiety is the place to go). Personally, my pick of the month is Forced Entertainment’s Void Story (pictured above) (Project Arts Centre, 13-14). Not often do these theatrical daredevils touch down on Irish soil, and those who know them know that they have an uncanny ability to warp theatrical form to marvellously demented results. The play tells the story of two survivors of a decimated civilization in a sort of ‘visual-radio play’ style.

 Also worth going to (even if have already) is The Company’s As You Are No So Once Were We(*), which has its well-earned run on Peacock stage, 25^th-Feb 5^th . Brilliant show.

 * Original review:

http://musingsinintermissions.blogspot.com/2010/12/best-of-irish-theatre-2010-5-company-as.html#more

Also over in Dublin …

Best of Irish Theatre 2010 #3: Abbey Theatre, ‘Christ Deliver Us!’

Abbey Theatre, Dublin

Feb 16 - Mar 13

“There’s always something in the world that’s stronger than us”

This is the truth that Winnie Butler has come to accept. The young girl’s frustration, and that of the rest of the young inquisitors of Christ Deliver Us!, is the real emotional tug of this piece of theatre. The truth is: they’ve all been defeated.

Excuses, excuses …

I have been away from the blogosphere for a while now, mostly because I’ve been busy working on shows. My Oedipus Loves You review will be posted in the next 24 hours, meaning it will be done so ten days after having seen it. From now on I’ll be committing myself to writing and posting materials while they are still relevant and recent. 

Now, in non-economic/political related news …