Now showing items 21-27 of 27
The Call by Tara Maria Lovett, Peri-Talking at The Crypt
(Irish Theatre Magazine, 2002)
Arriving to watch Tara Maria Lovett’s The Call, we realise that we have entered a human body. The room pulses with red lighting as we take our seats around a ribcage, a pile of stones at its centre representing a heart. ...
Tilsonburg by Malachy McKenna, Focus Theatre/Irish Touring Company, Town Hall Theatre and Shiver by Declan Hughes, Rough Magic, Project Arts Centre, Dublin
(Irish Theatre Magazine, 2003)
Critics have been declaring Irish playwrighting to be in a state of crisis for most of the last 100 years but, even so, it’s hard not to feel glum about the present state of our writing for the stage. The latest plays from ...
“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]
Half-hearted: Irish Theatre, 2003
(Center for Irish Studies, University of St. Thomas, 2004)
Irish theater experienced an unusuaily quiet period in 2003. Although the year was free of the controversies that have overshadowed recent years, it was also too frequently free of excitement, creativity, and originality. ...
"I Do Repent and Yet I Do Despair": Beckettian and Faustian allusions in Conor McPherson's the Seafarer and Mark O'Rowe's Terminus
In a press interview in April 2007, Conor McPherson correctly anticipated the imminent conclusion of the ‘Celtic Tiger’ period – the decade-long economic boom that had transformed Ireland into one of the world’s richest ...
Oenone and Colin Clout
(Edinburgh University Press, 2016-11)
Spenser's Shepheardes Calender was still a new work, not even yet publicly acknowledged by its author, when George Peele made the rather surprising decision to co-opt its central character and reanimate Colin Clout onstage ...
The theatre of Marie Jones: telling stories from the ground up
(Taylor & Francis, 2016-11-11)
It’s sometimes asserted that Irish women writers are doubly marginalised: first by their nationality and then by their gender. If that statement is true, we might add to it that Marie Jones has been marginalised a third ...