Irish Times Theatre Awards: A complete list of every nomination ever

In other countries awards are presented by theatre organisations. Here the ceremony is organised by a national newspaper, and sometimes ignored by rival media outlets.

ORion Productions, 'The Motherfucker with the Hat': Your, Whaddyacallit, World View

New York is a high octane and revelatory trip in Stephen Adly Guirgis's comedy. What's the point of getting sober? Photo: Táine King. 

The New Theatre
Dec 3-20


My review of The Motherfucker with the Hat by Stephen Adly Guirgis coming up just as soon as I give you a small fuzzy bear that grips and shit ...

Souvenirs for the Swindled

Actor Marcus Lamb and cellist Kim V Porcelli in Men Like Us - an arrangement of three Samuel Beckett plays by Mouth on Fire

Last Friday night the Beckett impresarios, Mouth on Fire, produced three of the playwright's one-act plays in the Kevin Barry Room of the National Concert Hall. The company were accompanied by musician Kim V Porcelli, whose looped cello arrangements spun a sound so vast that you could get lost in its despairing folds. First up was Matalang - an Irish language adaptation of Catastrophe - in which an autocratic director (Clive Geraghty) mercilessly arranges the presentation of an actor (Shadaan Felfeli) onstage, stripping his clothes and altering the height level of his arms. Felfeli's trembling turn as the unspeaking, unprotesting protagonist does disturb. "There's our catastrophe!", says the director triumphantly.

Fregoli, 'Dorset Street Toys': Falling Hard and Fast

Smock Alley Theatre
Oct 24-26

My review of Dorset Street Toys by Rory O'Sullivan coming up just as soon as I drink something foreign ...

Dublin Tenement Experience, 'Living the Lockout': No. 14 Henrietta Street

Photo: Patrick Redmond

No. 14 Henrietta St, Dublin

Jul 4-Aug 31

My review of The Dublin Tenement Experience's Living the Lockout exhibition - devised by ANU Productions - coming up just as soon as I try to hide from you underneath my Sunday hat ...

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.

Thoughts on Irish Times Theatre Awards Nominations 2011

The nominations are in for the Irish Times Theatre Awards 2011 (to be held Feb 26), and the details are here. I think this year’s shortlist is a good reflection of the work produced. Here are some general thoughts:
 

When you’re right, you’re right

I agree with the judges’ comments about how 2011 was great for design, direction, but not writing. Pat Kinevane and Mark O’Halloran earned their places here. Haven’t seen the others.

… and I was right!

Misterman a heavy contender in the tech categories is not surprising. What I did predict successfully was that Pan Pan’s Aedín Cosgrove would be giving them some competition.
 

We all need to go north

The Lyric is obviously a force to be reckoned with, with 5 nominations for Conall Morrison’s The Crucible.
 

The Male of the Species: Commedia Action Man

I can’t comment on Patrick O’Kane but the rest sounds right. Really happy to see Philip Judge get the nod, and while I sorely missed Man of Valour from what I hear Reid was phenomenal.  In the Supporting category I’ve only seen John Olohan but Phelim Drew as violent Saranzo in The Making of ‘Tis Pity She’s a Whore comes to mind.
 

The Female of the Species: Amy Conroy has arrived

I didn’t see Conroy in the role she’s been nominated for but the disarming I ♥ Alice ♥ I (bound for the Peacock Jan 30) along with consensual praise in press indicate that she’s a hot ticket at the moment. It’s an obvious move to nominate a Tony winner, and while Marie Mullen had her moment (singular), I’d remove her from the list on the basis that Testament just wasn’t good. Insert one of Selina Cartmell’s leads (Camille O’Sullivan and Kate Stanley Brennan), or Pineapple’s Caoilfhionn Dunne instead. As for Supporting Actress, great recognition for Karen Ardiff but Caitriona Ní Mhurchú (who I am a big fan of), along with every other performer in 16 Possible Glimpses, was squandered due to no fault of their own. What about The Making of ‘Tis Pity She’s a Whore’s Cathy Belton, Derbhle Crotty for Corcadorcha’s The Winter’s Tale, or Bairbre Ní Chaoimh for her intimate performance in Laundry instead.  

What’s Missing?

Would Neil Watkins and The Year of Magical Wanking have been considered for last year’s nominations or this years’? Either way, why the hell isn’t he here? As for The Blue Boy and Follow, I imagine their best chance of getting in here would probably have been through the tech categories but those are flooded with Misterman nominations.  Drat.
 

What’s going to win?

You tell me.

Úna McKevitt, ‘565+’: The Woman Who Walked Into Theatre

Project Arts Centre, Dublin

Jan 12-14

My review of 565+ coming up just as soon as I give Sam Shepherd a thumbs up …

Irish Theatre in 2011: When the Heroes are Gone

It’s that time when bloggers write their end-of-year contemplations, trying to count down the ‘Best of’ moments of whatever had them gushing into their keyboards for the past twelve months. You might recall that I did a ‘Best of’ list last year. It then became increasingly obvious to me that comparing performances and declaring a winner is a problematic and possibly fruitless exercise. For example, how do you measure something like Laundry against Misterman and decide which is the “best”? Also, some of my favourite shows this year such as Mimic and The Year of Magical Wanking had technically received their debuts before 2011, so would they be “qualified” for such a list?

Instead, I decided to write an impression of the year that was, of what we can say happened and the significance of such. And where is a more appropriate place to begin than Enda?

Druid, ‘Big Maggie’: Of Land, Of Lady

The Gaiety, Dublin

Nov 21-26

My review of Big Maggie by John B. Keane coming up just as soon as I find Molly Gibbons’s grave ...

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?

Landmark Productions, ‘Testament’: The Gospel According to Whom?

Project Arts Centre, Ulster Bank Dublin Theatre Festival

Oct 3-16

My review of Colm Tóibín’s Testament starring Marie Mullen and directed by Garry Hynes coming up just as soon as I see Artemis for the first time ...

Town Hall Theatre Galway, ‘Faith Healer’: Testimonies

Town Hall Theatre, Galway

Aug 25-Sept 3


My review of the Town Hall’s production of Faith Healer by Brian Friel coming up just as soon as I measure my progress by the number of hours I sleep and the amount I drink and the number of cigarettes I smoke ...

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.

NUIG Dramsoc, ‘The Hero Returns’: Miles To Go Before I Sleep

Bank of Ireland Theatre, Galway

Jun 27-Jul 1

My review of The Hero Returns coming up just as soon as I sell my shape ...

Fintan O’Toole, ‘Power Plays’: Sermons

I’ve been pacing back and forth the past week on to whether to publish my opinion on Power Plays or not. What I have to say seems more appropriate for a ‘letter to the editor’ as opposed to a post here. Then I read Luke Murphy’s sad but inspiring account on why he’s resigning from ‘theatre blogging’ in London. In his exiting remarks, he encourages writers to not focus solely on reviews but to also ignite conversation on the future of theatre, its innovation and problems, so that the industry can evolve.

So here we go ...

Calipo Theatre, ‘Pineapple’: Silver Spoons

Draíocht, Blanchardstown, Dublin

May 5-6

My review of the terrific Pineapple coming up just as soon as these Custard Creams stare me out of it ...

Excuses, excuses ... [Redux] and Musings Listings: March 2011

As happened in November, my self-disciplined ways suffered a bit of a setback this month. However, we’re back up and running and expect some regular postings here in the next few weeks as there are a few shows I am planning on going to. This month’s listings are astronomically late, but better late than never right?

There is a lot to admire in March 2011 as the month mainly pays its dues to original and new theatre. This is seen on the utmost funded level with the Abbey’s presentation of three new plays by two contemporary voices. The institution’s diluted commitment to original work is one of its sorest subjects, and rarely do we have the opportunity to see new Irish writing on its stage (Thomas Kilroy’s Christ Deliver Us!, Michael West’s Freefall, and Carmel Winters’ B for Baby are the only examples in 2010 I can think of). Nancy Harris’ Bad Romance (until Apr 2) is described as a “tender and funny tale about our secret selves [that] observes the search for connection in a fractured world”. Female authors and writing that is distinctively ‘female’ is extremely under-developed in this country, with Marina Carr the most notable author of recent times. The very circumstance of having Harris’ work on stage may be cause for celebration but let’s hope that she’s capable of a discourse that is engaging and insightful that will want us to keep her around. Also: Wayne Jordon (Ellamenope Jones) and Janet Moran (Freefall) are attached so it could be a nice show.

The other two plays in the Abbey come from scribe Paul Mercier. I am curious as to why Mac Chongail is investing this heavily in Mercier to supply the goods. His past writing for the company must have brought home the gold. First we have The Passing (Mar 11-Apr 16) which is a story about a woman revisiting her relationship with where she grew up when her parents’ house goes for sale. The East Pier (Mar 18-Apr 16) then is a two-hander with Andrea Irvine and Don Wycherley described as “a chance encounter between two stray souls who discover they are still as deeply connected as they are strangers to one another”.

I’d probably be more inclined to go to THEATREclub’s ‘Spirit of the Fringe’ winner Heroin (Mar 24-26, pictured above) at the Axis Theatre in Ballymun. The show is the product of co-founder Grace Dyas’ research into the social history of heroin-use in Dublin and society’s wilful ignorance of it. 

Blue Raincoat, 'At Swim: Two Birds': Clown Nose

Project Arts Centre, Dublin

Feb 21-Mar 5

I mentioned in an earlier post that I’d do a piece on Blue Raincoat’s stage adaptation of Flann O’Brien’s At Swim: Two Birds, which is now showing at the Project. The show has been on its feet since the winter of 2009, which is when I saw it in the Raincoat’s Factory Space in Sligo. Below is a review of that performance (written back when I first started writing reviews. This is the blogger equivalent of baby pictures). Feel free to use the comments section below to share your thoughts. 

Best of Irish Theatre 2010 #5: The Company, 'As You Are Now So Once Were We'

Project Arts Centre, Dublin

Sept 9-15 

 “Never tell a young person that anything cannot be done. God may have been waiting centuries for someone ignorant enough of the impossible to do that very thing” - G.M. Trevelyan

“All these here once walked around Dublin. Faithful departed. As you are now so once were we” - James Joyce, 'Ulysses'

                                                                                                  

I am part of a scene. It consists of those of the artistic sort, mostly in their twenties and thirties, not on the receiving end of any annual funding that could make Hamlet’s father fly, and are, undeservedly for some, overlooked.

Dublin ensemble The Company may just be the exception to the rule …