Kneehigh, 'The Wild Bride': Gotta Keep The Devil Way Down In The Hole!

The Gaiety Theatre, Ulster Bank Dublin Theatre Festival

Oct 13-15

Unfortunately I’m again pressed for time and can’t write in detail on The Wild Bride. All I’ll say is that amongst the postmodern back-flips of the German companies and the social histories that our homegrown artists are illuminating, The Wild Bride sits triumphantly as the festival’s international visitor and king of folk theatre.  The virtuosic performances of Kneehigh give us a blues-infused fairytale that is funny, inventive, beautiful and disturbing. Highly recommended.

Other commitments are limiting my writing time (I’ll explain once I get the chance) but expect a thorough piece on Laundry by the end of the week and also something on She She Pop and Gob Squad.   

Meanwhile, conversation is dry at the Festival Water Cooler (!). Let me know what you’ve seen, what you thought, etc. Was Peer Gynt too chaotic for its own good? Did anyone find out where Camille O’Sullivan disappeared to at the end of The Lulu House? Were critics too easy on Testament? Is Marina Carr in trouble? What can we do with the truths Trade, The Blue Boy and Laundry have given us? Did you cry at She She Pop? Tell me all.

What did everybody else think of The Wild Bride?

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.