Sheer Tantrum, ‘The Applicant’ & ‘Voices in The Rubble’: Keep Calm and Be Absurd

The Pearse Centre, Dublin

Nov 21-Dec 2

My review of The Applicant and Voices in The Rubble coming up just as soon as I make a poodle …

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 ...

Nervousystem, ‘Weaving The Cry’: An Ocean and a Rock

Project Arts Centre, Dublin

Oct 27-29

My review of Weaving the Cry coming up just as soon as I recognise my stitch ...

Dragonfly Theatre in collaboration with Bluepatch Productions, ‘Chasing Butterflies’ & ‘In the Garden’: Afterlight

Nun’s Island Theatre, Galway Theatre Festival

Oct 29-30

My review of Siobhán Donnellan’s two one-act plays Chasing Butterflies and In the Garden coming up just as soon as I look like my grandmother ...

Fregoli, ‘A Life of Words’: All Together Now

Studio THT, Galway Theatre Festival

Oct 26-27

My review of A Life of Words coming up just as soon as I sit in the bar where Pablo Picasso met Salvador Dalí ...

Mephisto, ‘Almost a Fantasy’: My Moon My Man

Nun’s Island Theatre, Galway Theatre Festival

Oct 26-27

My review of Caroline Lynch’s Almost a Fantasy coming up just as soon as I think “there goes my venue” ...

TYGER, ‘The Kimberly Tin’: All The Small Things

Nun’s Island Theatre, Galway Theatre Festival

Oct 25-26

My review of The Kimberly Tin coming up just as soon as I listen to Just Seventeen ...

Corcadorca, ‘The Winter’s Tale’: Godsend

Cork Opera House

Oct 11-22

I managed to catch Corcadorca’s production of Shakespeare’s The Winter’s Tale but I don’t have time to do an in-depth review. I have to say though that this is not only the first production of a Shakespearean text by an Irish company that I enjoyed and would recommend (not including postdramatic phenom The Rehearsal, Playing the Dane) but it was also one of the most mesmerising and engaging pieces of theatre I’ve seen all year.

Director Pat Kiernan’s tribal-infused interpretation, keening with Mel Mercier’s score and steeled by Paul Keogan’s frosty lights, is both a chilling and hopeful experience. When Garrett Lombard’s jealous king Leontes clashes with Derbhle Crotty’s courtly Paulina we have a stage equivalent of when an unstoppable force meets an unmovable object. Both actors give supreme performances. The second half of the play is less memorable (Shakespeare did give this one a strange structure, starting off with road-signs towards a tragedy and then taking a comedy detour)  but is held together by an amiable cast including Ronan Leahy, Mal Whyte, and the always charming Raymond Keane. I have more thoughts on The Winter’s Tale but I think I’m going to save them for my end of year write-ups in December.

What did everybody else think? 

ANU Productions, ‘Laundry’: This Is Not Rome

The Magdalene Laundry, Sean MacDermott Street, Ulster Bank Dublin Theatre Festival

Sept 27-Oct 15

My review (with spoilers) of Laundry (*), as well as a few thoughts on how it and The Blue Boy have dealt with the subject of the Catholic Church, coming up just as soon as I remember four names for you ...

(*) While I was stalking the Lab with the hope of getting a return ticket for ‘World’s End Lane’ (didn’t happen) I heard people from ANU tell audiences that they do hope to bring back ‘Laundry’ next year. I would strongly recommend not reading this review until you see the show, even if it’s a long wait. The show is well worth a look.

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?