Now showing items 1-20 of 25

  • All that Fall by Samuel Beckett, Pan Pan Theatre Company 

    Lonergan, Patrick (Irish Theatre Magazine, 2011)
    The first thing to say about Pan Pan’s performance of Beckett’s 1956 radio play is this: if you’re planning on going to it, please don’t read this review – it would be a shame to spoil the surprise that awaits you. And ...
  • All we say is 'Life is crazy': - Central and Eastern Europe and the Irish Stage 

    Lonergan, Patrick (Dublin: Carysfort Press, 2009)
    [No abstract available]
  • The Beauty Queen of Leenane by Martin McDonagh, Young Vic Theatre 

    Lonergan, Patrick (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 Blind Fiddler by Marie Jones, Lyric Theatre, Belfast 

    Lonergan, Patrick (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 ...
  • Dancing at Lughnasa by Brian Friel, Gate Theatre 

    Lonergan, Patrick (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 ...
  • An enemy of the people, Ibsen adapted by Arthur Miller, Gate Theatre 

    Lonergan, Patrick (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 ...
  • Faith Healer by Brian Friel, Gate Theatre 

    Lonergan, Patrick (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 ...
  • The Field by John B. Keane, Olympia Theatre 

    Lonergan, Patrick (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 ...
  • For the pleasure of seeing her again by Michel Tremblay, translated by Linda Gaboriau, Peacock Theatre 

    Lonergan, Patrick (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 ...
  • The Gigli Concert by Tom Murphy, Druid Theatre 

    Lonergan, Patrick (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 ...
  • Half-hearted: Irish Theatre, 2003 

    Lonergan, Patrick (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. ...
  • HURL by Charlie O’Neill, Barrabas Theatre Company, Black Box Theatre, Galway 

    Lonergan, Patrick (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, ...
  • Krapp's Last Tape by Samuel Beckett, Gate Theatre 

    Lonergan, Patrick (Irish Theatre Magazine, 2010)
    It took Samuel Beckett about three weeks to write Krapp’s Last Tape. During that time, the play went through seven distinct stages which, according to the scholarship, involved a gradual stripping away of sentimentality: ...
  • Measure for Measure by William Shakespeare, Rattlebag Theatre Company, Civic Theatre Tallaght and Henry IV – Part One by William Shakespeare, Peacock Theatre 

    Lonergan, Patrick (Irish Theatre Magazine, 2003)
    Almost every European country that gained independence after the First World War had one thing in common: with only one exception, they all tried to stimulate the growth of a national literature by commissioning translations ...
  • The on and off-stage roles of Abbey Theatre actresses of the 1930s 

    O'Dowd, Ciara (2016-05-11)
    Building on the work of Maggie Gale and John Stokes in The Cambridge Companion to the Actress, this doctoral thesis exposes ‘the construction of the actress’ in the context of the Irish Free State (1922 – 1937). (2) It ...
  • Once: the musical by Enda Walsh, Gaiety Theatre 

    Lonergan, Patrick (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 ...
  • Only an Apple by Tom MacIntyre, Peacock Theatre 

    Lonergan, Patrick (Irish Theatre Magazine, 2009)
    You have to wonder why Irish dramatists keep writing plays about politicians. In 1969, Brian Friel’s The Mundy Scheme brilliantly satirised the political life of that period, while anticipating much that would follow. Yet ...
  • Queer notions: new plays and performances from Ireland by Fintan Walsh 

    Lonergan, Patrick (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 ...
  • Shakespeare and the Irish Writer edited by Janet Clare and Stephen O Neill 

    Lonergan, Patrick (Irish Theatre Magazine, 2010)
    Shakespeare, wrote Ben Jonson, was both the “soul of the age” and “for all time”. His work, that is, encapsulated the life of his society – but it also transcended space and time, acquiring universal importance. That ...
  • Shakespearean productions at the Abbey Theatre, 1970-1985 

    Lonergan, Patrick (Palgrave Macmillan, 2015)
    [No abstract available]