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Now showing items 11-20 of 38
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 ...
Dancing at Lughnasa by Brian Friel, Gate Theatre
(Irish Theatre Magazine, 2004)
Dancing at Lughnasa premiered at the Abbey in 1990, and was produced in Dublin during five of the ten subsequent years – using the same director and designer every time. Our understanding of the play has therefore been ...
HURL by Charlie O’Neill, Barrabas Theatre Company, Black Box Theatre, Galway
(2003)
Minutes into Hurl, Charlie O’Neil’s play about a multi-ethnic hurling team, a ripple of discomfort sweeps through the audience. On stage, a man and woman have entered the house of an alcoholic ex-priest; understandably, ...
The Beauty Queen of Leenane by Martin McDonagh, Young Vic Theatre
(Irish Theatre Magazine, 2010)
When Martin McDonagh’s Leenane plays first appeared in Ireland, they seemed exciting for many reasons: their
delinquent humour, their rootedness in (but distance from) the Irish dramatic tradition, their wilfully ...
The Gigli Concert by Tom Murphy, Druid Theatre
(Irish Theatre Magazine, 2009-09)
One of the clichés of Irish theatre historiography is that drama in this country is excessively verbal – that our dramatists
write for the voice, but not for the body. But if you actually go to the theatre here, it soon ...
Once: the musical by Enda Walsh, Gaiety Theatre
(Irish Theatre Magazine, 2013)
As we enter the Gaiety, we discover that Once has already begun: the cast are gathered in what looks like an ordinary pub
where a session is underway. They play music for about twenty minutes while members of the audience ...
Faith Healer by Brian Friel, Gate Theatre
(Irish Theatre Magazine, 2010)
During the last decade, Owen Roe has emerged as one of Ireland’s very best actors – yet, until now, he’s rarely filled a
major leading role. His performance as the Irishman in Ben Barnes’s 2001 Gigli Concert was astonishing ...
An enemy of the people, Ibsen adapted by Arthur Miller, Gate Theatre
(Irish Theatre Magazine, 2013)
Ibsen’s 1882 An Enemy of the People is sometimes described as a problem play, in that it dramatises a compelling debate
between two brothers about the nature of morality and individual responsibility. But that term might ...