ANU and CoisCéim, 'These Rooms': Claiming Damages

The unfinished business of 1916 is dug up in a miraculous co-production. Photo: Pat Redmond

85/86 Upper Dorset Street, Dublin Theatre Festival

Sep 29-Oct 16

Will be writing a round-up of Dublin Theatre Festival for The Stage next week. But in the meantime, a few thoughts on These Rooms coming up just as soon as I hand you your handbag ...

... Getting Any Younger

You'll have to go somewhere else to read my Pals and A Midsummer Night's Dream reviews. 

Last September, I sat at conference table inside a glass building in London's King's Place. Sitting across from me was a blonde-haired woman, listening carefully and speaking excitably, as if hope was to be found at the turn of every sentence. Hope was the reason I was there. That woman was Lyn Gardner, theatre critic of The Guardian, and a personal hero.

Irish Theatre to See in 2015

ANU Productions present PALS, an installation based on events surrounding the Irish who fought at Gallipoli in WWI. 

Some plays for your diary ...

More Irish Theatre Highlights of 2014

School was out this summer and some of the first graduates of The Lir lent serious verve to Selina Cartmell's kinetic staging of Punk Rock. 

I already made a list of my top 10 Irish theatre productions of 2014 but here are more highlights that deserve mention ...

Irish Theatre Top 10 of 2014

Enda Walsh's play Ballyturk preached the idea of pushing life, and theatre, to the very edge 

As per the year end ramble of making lists, below I give what I think are the highlights of 2014 in Irish theatre.

This year I wrote about 109 productions mounted in 6 different counties, with generous support from many producers and venue managers along the way.

Below are the 10 that struck me most:

ANU Productions and The Performance Corporation, 'Beautiful Dreamers': Loud City Song

As the City of Culture year approaches its end, ANU and The Performance Corporation start a conversation about Limerick. Photo: Patrick Redmond

69 O'Connell St (Meeting Point), Limerick City of Culture

Nov 27-Dec 6

My review of Beautiful Dreamers coming up just as soon as my uncle was a pork butcher ...

ANU Productions, 'Vardo': Do Not Pass Go, Do Not Collect €200

The concluding chapter of ANU's Monto Cycle brings 100 years of history full circle. Photo: Patrick Redmond.

Oonagh Young Gallery, Dublin Theatre Festival
Sept 25-Oct 12


A few weeks ago I talked to ANU director Louise Lowe about Vardo and the Monto Cycle as a whole. My review coming up just as soon as I count backwards from one hundred ...

The Look of the Diamond

Promotional art for Vardo. Having 'the look of the Diamond' has given Louise Lowe a sense of permission to make the Monto Cycle this far. The ANU director talks about how the final chapter has led the company into a darker and more dangerous place than before.

We've visited brothels and laundries, been pulled into cars, given gifts of carbolic soap, recorded brutal beatings on the street, and been caught in the blast radius of a bomb. Now it's time for ANU Productions' accomplished Monto Cycle of plays about Dublin's hidden histories to come to an end.

I Walked Into the GPO With a Typewriter and a Revolver

ANU Productions commemorates the formation of Cumann na mBan 100 years ago. 

On April 2 1914 a group of women met in Wynn's Hotel on Dublin's Abbey Street to discuss the formation of a woman's organisation to lend support to the Irish Volunteers. Under the constitution of this women's league, Cumann na mBan, they were to “teach its members first aid, drill, signalling and rifle practice in order to aid the men of Ireland”.

100 years later in the same building, ANU Productions deliver a specially commissioned performance to commemorate the event: Cumann na mBan - Auxiliaries/Allies?

The doors of a function room push open to reveal a gathering of women in high societal gowns. "Play or Watch?" you could be asked, before requested to take a seat at the table. As for those of us left to stand, we quickly realise why. A man from the audience gestures to take a seat and is met with a resounding "No"! 100 years ago, we weren't invited either. 

With the clink of a teacup they plunge into discussions, asking if Irish society has achieved genuine equality for women. As they hash out positions on pacifism versus activism, Irish language and domesticity, the men are left silent and observant.

Louise Lowe's direction then jolts us out of the naturalist scene, with the performers giving to physicality(*), gesturing the raise of their skirts. Even in the advance of freedom, Woman can't escape the sexual liberties that have been made of her.

(*) Two gestures - a sideways slam of the body on the table and a raising of the hand across the forehead and mouth - were recurring motifs in ANU's 'Thirteen', which suggests that they're part of a mythology that isn't limited to the company's connection with the Dublin Lockout.    

A military-dressed member of the women's league, played with pride by Laura Murray, stands on the table and gives an account of entering the GPO during the Easter Rising with a typewriter and revolver, making her Winifred Carney - the only woman to be part of the seizure of the building. Later on, Murray describes clenching a white flag in her hands, meaning she has taken on Elizabeth O'Farrell, the go-between sent to negotiate Pearse's surrender on behalf of the rebels.(*)

(**) Like how 'Thirteen' revealed female figures such as Rosie Hackett and Dora Montefiore who aren't well documented in Irish history, I expect we'll learn about more extraordinary individuals from ANU's work in the coming years. I wonder if we'll see a return of Derbhle Crotty as the theatrical and radical Helena Moloney, who during the Rising fought as a sniper against English soldiers at Dublin Castle. 

Revealing startling images of a battlefield with bullets in the air and skulls on the ground, ANU's commemoration is a far cry from the maternal 'place in the home'. It leaves us to consider that the women of Cumann na mBan had exceeded their mission as auxiliary forces; they were allies in war with their fellow rebels, fighting on the front line.  

Irish Theatre to See in 2014

Some plays for your diary ...

More Irish Theatre Highlights of 2013

Wayne Jordan's kinetic production of The Threepenny Opera brought movement that is rarely seen on the Gate stage.

I already made a list of the top 10 Irish theatre productions of 2013 but here are more highlights that deserve mention ...

Irish Theatre Top 10 of 2013

Lloyd Cooney tearing it up in No. 14 Henrietta Street during ANU Productions' marking of the 1913 Lockout centenary.

As per the year end ramble of making lists of the year's best in music, cinema and such, below I give what I think are the highlights of 2013 in Irish theatre.

Before I begin I'll disclaim that while my scope is very Dublin-centred I did travel and provide extensive coverage of both the Cork Midsummer Festival and Galway Arts Festival. My misgivings include failed trips to Limerick, to the Blue Raincoat productions in Sligo, the Beckett Happy Days Festival in Enniskillen, the City of Culture events in Derry, and to any of the theatres in Belfast. These aside, however, I'll argue that this still is a comprehensive list of the year's finest in Irish theatre.

This year I made the decision to drop out of college and begin writing to arts editors looking for a job (if any of you said editors are reading, expect more pesterings in your inbox).

This commitment has meant that I have reviewed 102 performances in 2013 whilst keeping up the day job. These were spread between the reviews here, for Irish Theatre Magazine, and some work that I do for the Arts Council. The most read reviews here on the blog were my reviews of King Lear and Living the Lockout, my counterpoint to Una Mullally's Irish Times article on the most creative people in Ireland, and my opinion piece reacting to the Limerick City of Culture programme. 

Choosing 10 out of 102 wasn't easy but here they are:

City of Culture to Increase Visitors to Limerick but is it Engaging with Theatre in its Locality?

Production image of Tom MacIntyre's What Happened Bridgie Cleary by Bottom Dog - one of several Limerick-based theatre companies who could benefit from inclusion in Limerick City of Culture

In July 2012 Jimmy Deenihan, the Minister for Arts, Heritage and the Gaeltacht, introduced the National City of Culture initiative, wherein a designated city will host arts events all year round in hopes of increasing visitors to the locality as well having a long-term effect on the development of arts in the area.

Hosting duties were given to Limerick, a decision which couldn't have been more timely. It's been a difficult year for theatre companies in the city as the closing of the Belltable Arts Centre dealt a serious blow to the city's artistic infrastructure. When the government delivered the budget last month they announced €6m to go into Limerick for City of Culture. But from the reveal of the programme on Monday it was obvious that almost all of that money is going towards importing artists from outside the area. There's no doubt that the initiative will draw visitors to Limerick but it risks severely missing the opportunity to generate audiences and resources for the companies who will be working in the city after this ceremonial year is over.

ANU Productions, 'Thirteen': Where Do We Stand Now?

Photo: Patrick Redmond

As I mentioned before, I am reviewing Thirteen in two parts. Part one is here.

Here are my thoughts on the remaining chapters (Soup, Save The Kiddies, Inquiry, Protest Part 2, Incitement, Bargaining, and Assembly) and on the event as a whole.

ANU Productions, 'Thirteen': Why Should We Fight?

Photo: Patrick Redmond

It's about time I wrote something about Thirteen - the thirteen-part theatrical epic by ANU Productions that is using the city as as a mise en scene to bring the Lockout of 100 years ago into focus.

I will be reviewing the event in two parts, with this post discussing the first eight chapters: Citizen X, Resilience, Porous, Suasion, Constituent(s), Backwash, Speakers Corner and Protest: Part 1.

Dublin Fringe Gets Locked Out but Who Else is in this Year's Festival?

Raymond Keane's physical stylings from his performance in clown may just make him the man for Samuel Beckett's Act Without Words II. Photo: F. Sakauchi

Dublin Fringe Festival has revealed the remainder of this year's programme after having already leaked the highlights last month (my write-up on that here)

We learn more about ANU Productions' city-wide installation of the Lockout that seeks to immerse audiences in the events of 100 years ago. Thirteen sees 13 interdisciplinary art events taking place across 13 days at various Luas stops, the conserved tenement at No. 14 Henrietta St (which was the site of Thirteen's prelude: Living the Lockout), Dublin Castle, Liberty Hall, Collins Barracks and other places. All events are free-ticketed.

The offering from the Spirit of the Fringe-commissioned Paperdolls is called Bunk - an aerial circus performance about the threshold between internal and external worlds, in other words: the bed.

It's very exciting to hear of the collaboration between avant garde director Sarah Jane Scaife and Raymond Keane on Samuel Beckett's Rough for Theatre One and Act Without Words II. I've held a suspicion that Keane with his physical stylings drawn from his performance in clown could be a formidable performer of Beckett's work, considering the playwright's own influences from Charlie Chaplin.

(Also, Keane's Barabbas colleague, the sweeping Bryan Burroughs, will be tearing up Beowulf in Bewleys Cafe Theatre, and Ruth Lehane performs in red nose in Ruth 66, which is about a clown's travels across America involving sex, drugs, the usual.)

On the creative winds of Human Child earlier this year, Collapsing Horse present their new play, this time for adult audiences: Distance From the Event by Eoghan Quinn. Starring John Cronin, this Irish noir/Sci fi hybrid follows an investigator looking to solve the disappearance of a human colony on a distant planet. Epic in scale, as is to be expected from this energetic company.

Plays also seem to be back at the Fringe. Genevieve Hulme-Beaman has been fantastic in everything I've seen her in, and her play, Pondling, about a schoolgirl searching for love might be a promising debut. The charming (and talented as hell) Janet Moran performs in Swing, a play about dance and nerves, written by Moran, Steve Blout and Gavin Kostick. Louise Melinn and Máirín O'Grady co-write The King's Feet, an absurdist play directed by Aoife Spillane-Hinks. Hopefully the attributes of these two fine writers - to present what is instantly recognisable from Irish life today - won't be lost in the exercising of the absurdist form. And John Morton's War of Attrition for Devious Theatre seems to be a vibrant tale about three young Irish people living in Dublin and the terror they wreak on each others lives.

Dick Walsh had audiences flinching in last year's a dangerman, and now he returns with Some Baffling Monster - a tale of a father and son's struggle for a farm presented in a form "monstrously Brechtian, maybe better than Brecht". Sounds like a tall order but don't be fooled: Walsh seems well voiced in contemporary performance styles.

A few of the performances which we glimpsed at THE THEATRE MACHINE TURNS YOU ON VOL. III are also in here, many of which share a theme of womanhood such as Sorcha Kenny's DOLLS, Louise Lewis's The Churching of Happy Cullen and Meadhbh Haicéid's MADONNA.

Oisín McKenna's spoken word performance Writer/Performer/Salesman (A New Play About Retail) was one of the highlights of THE THEATRE MACHINE, and now he presents GRINDR / A Love Story - a piece about gay relationships in the digital age.

Also: the street performers of Macnas will be transforming Meeting House Square into the magical world of Chaosmos; composer for theatre Denis Clohessy presents the music-led revenge tale Animus (which, if as good as his usual compositions, could be marvelous); Bush Moukarzel presents a curious and extraordinary-sounding performance called LIPPY inspired by a real life suicide pact in Kildare between an aunt and her three nieces; and Brian Flemming makes a welcome return with more tales of the Irish in Africa in Have Yis No Homes to Go To.


What will you be seeing in Dublin Fringe Festival 2013?

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 ...

Big Guns Called In for Festival Director's Last Fringe

Promotional art for HotForTheatre's upcoming new show Break

The highlights of the 2013 Dublin Fringe Festival (Sept 7-22) have been announced, which, of course, is the last festival overseen by artistic director Róise Goan.

Headlining international acts include glam singer/theatre artist Taylor Mac and an abridged version of his upcoming 24-hour project where he performs a pop classic from each decade in the twentieth century. Scottish-born Nic Green traces her national and personal lineage in the dance and music performance Fatherland.

The Gathering strand of the festival brings home-gig to Irish comedian Aisling Bea in a double bill with Dead Cat Bounce's James Walmsley, as well as a headliner to Maeve Higgins and her new show about her "break-up with Dublin" and the abandonment issues that arise from her move to London.

WillFredd's Sophie Motley and Sarah Jane Shiels are also at hand, collaborating with renowned musicians Caoimhin Ó Raghallaigh and Nic Gareiss in a performance about the role of mice in "traditional music, science, and in our daily lives". Meanwhile, fantastic to see great faith placed in the Galway-based Blue Teapot Theatre Company, whose acclaimed production of Christian O'Reilly's Sanctuary seems to be growing into a national hit.

In Irish theatre, the spotlights are appropriately shone on the two biggest success stories born from Goan's direction of the festival over the past five years.

Louise Lowe was already making strides with her fantastic site-responsive work with ANU Productions, but World's End Lane - the first installment of the nearing complete Monto quadrilogy - in the 2010 festival was a game changer. The success meant that the company migrated to a bigger platform in the Dublin Theatre Festival with Laundry (2011) and The Boys of Foley Street (2012). They return to the Fringe with Thirteen, where the company turn their theatrical historicity back one hundred years to the events of the 1913 Lockout with "a series of thirteen interconnecting works combining performance, installation and digital technology allowing audiences to immerse themselves in the tumultuous events of 1913 as they unfold in present day Dublin"

The 2010 festival also marked the debut of playwright/performer Amy Conroy with superstar hit I ♥Alice ♥I, which, along with follow-up The Eternal Rising of the Sun (2011), has had enough fire to fuel constant touring both at home and abroad. Her company, HotForTheatre, has become an exemplary touring company in Ireland, seeming to hit every venue in the country. Conroy has also gone on to become a treasured and insightful literary voice, writing about courageous souls in modern Ireland. Truly exciting, then, is her return this September in greater company than before with Break - a performance interrogating the public education system and the priorities of the institution that precede those of the individuals.

The full details of this year's programme will be released August 14. However, below is a list of other productions we know going to Fringe because their Fundit campaigns say so ...

• Rise Productions, The Games People Play - The creative team behind the highly successful Fight Night are back, this time with a modern retelling of Tír ná nÓg where the mythical paradise relocates to Drumcondra. Gavin Kostick back on script, Bryan Burroughs back on direction, starring the cunning Aonghus Óg McAnally. 

• Louise Lewis and Simon Manahan, The Churching of Happy Cullen - Also marking the centenary of the Lockout, this physical theatre performance about a mother's rite of passage though a tumultuous period in Ireland's social history already received a promising work-in-progress showing at THE THEATRE MACHINE TURNS YOU ON VOL.3. Lewis always gives a striking performance.

• Denis Clohessy, Animus - Having lent majestic music scores to The Corn Exchange and Rough Magic, composer Denis Clohessy's new project is a "music-driven revenge tale" and is propped up by an exciting design team including Aedín Cosgrove and Jack Phelan, and stars the charming Lucy Camille Ross. 

• X & CO, KITSCHCOCK - Anthony Keigher's pop star persona, 'Xnthony', becomes obsessed with stardom in this exploration of the anxieties and insecurities in a "world that continues to blur the line between public and private identities". 

• John Rogers, Decision Problem [Good Time for Questions] - Rogers's piece of science fiction theatre "charts the origin, rapid rise and possible future of computers", shining light on humanity's place in an increasingly digital universe. 

• 50% Male Experimental Theatre, FIGURE IT OUT - Male may be in the title but this new performance is about the complexities of female identity, with use of dance, live music and film.

Irish Theatre in 2012: Sacred Duties

In keeping with tradition I decided to do another write-up on the year that was, theatre-wise.

Last year I wrote about how I felt about lists and how un-useful they can be, so I'll be keeping with the approach of a discussion. Feel free to contribute in the comments section below.

On the subject of 2012, you'll probably have noticed that this blog has been inactive for most of it. This has been a result of time commitments to PhD research, work, a foray into making theatre (which is perhaps better left undiscussed), and to writing about theatre elsewhere and being paid to do so.

However, I've been thinking a lot recently about returning to the self-publishing ways. Aside from the insane amount of other things I have to do, I've found myself capable of writing faster, and so I think a weekly blog post is certainly achievable.

So please stick around (any press managers out there please retain my contact information!), and I'd like to wish Happy Holidays to all who have been around these parts, even if they have been quieter than usual.

My thoughts on Irish Theatre in 2012 after the jump ...

ABSOLUT Fringe and Project Arts Centre give us Turn Around

THEATREclub’s sonorous and rompous The Family finished its run this weekend at Project Arts Centre, thus leaving a void in our lives as we await that rare contemporary theatre piece unbound by convention until our Fringe overdose in September.

Thankfully, both the Fringe and Project will be making the wait easier as they announced last week their Turn Around season. In April we will be reunited with five Fringe shows from the past. The release states fringes, so it’s possible we’ll see productions not just from last year but the 2010 and 2009 festivals as well. The Final selected five haven’t been revealed yet but it’s fun to speculate.

So I pose the question: if you could bring back five Fringe productions – whether to relive something you loved or rewrite the past and see what you had previously missed – what would they be?

Here are mine: