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Now showing items 11-20 of 52
The Blind Fiddler by Marie Jones, Lyric Theatre, Belfast
(Irish Theatre Magazine, 2003-06-12)
Perhaps unfairly, Marie Jones remains more noted for commercial rather than critical success. The Blind Fiddler – an exciting fusion of melodrama, traditional music, and great storytelling – looks likely to be as successful ...
Review of Stewart Parker: A Life by Marilynne Richtarik
(Modern Humanities Research Association, 2015-10)
Stewart Parker is ofen spoken of as Ireland’s most unjustly neglected dramatist.
His first play, Spokesong, was an unexpected hit at the Dublin Teatre Festival in
1975; his last play, Pentecost (1987), is one of the great ...
Dancing on a one-way street: Irish reactions to Dancing at Lughnasa in New York
(Syracuse University Press, 2009)
[No abstract available]
Speaking Out: The Tricyle Theatre's Bloody Sunday: Scenes from the Saville Inquiry
(Irish Theatre Magazine, 2005)
[No abstract available]
“Old Fools are Babes Again”: Shakespeare at the Abbey Theatre: programme note for King Lear directed by Selina Cartmell at the Abbey Theatre
(Abbey Theatre, 2013)
[No abstract available]
Shakespearean productions at the Abbey Theatre, 1970-1985
(Palgrave Macmillan, 2015)
[No abstract available]
The Field by John B. Keane, Olympia Theatre
(Irish Theatre Magazine, 2011)
Irish attitudes towards John B. Keane have changed a lot during the last ten years – due largely to Garry Hynes’
production of four of his plays during that period. Keane has always been popular, but he was also seen by ...
Queer notions: new plays and performances from Ireland by Fintan Walsh
(Irish Theatre Magazine, 2011-01-30)
Fintan Walsh’s new anthology begins with a line that seems in danger of subverting the rest of the book. “There is strength
in numbers, so they say,” writes Frank McGuinness in his foreword – before adding “I’ve never ...
For the pleasure of seeing her again by Michel Tremblay, translated by Linda Gaboriau, Peacock Theatre
(Irish Theatre Magazine, 2002)
As Michel Tremblay’s play begins, we are told that we are not about to see a Three Sisters or a Hamlet. Instead, we are asked to witness the writer’s remembrance of Nana, his mother, whom he is summoning to the stage "for ...
Tackling a live subject: the Hinterland controversy
(Irish Theatre Magazine, 2002)
The ramifications of the controversy over Sebastian Barry’s latest play echo well beyond the "Hinterland", argues Patrick Lonergan.
What, exactly, is so bad about Hinterland? Using aspects of the career of Charles ...