I discovered Jack Reacher through Tom Cruise’s movie by the same name. I don’t remember what kind of reviews it got, but I thought it was thrilling and I hope there’s another one. (I doubt it, though. A friend thought it was a train-wreck.)
I have read five so far, and I will continue to read them all. Before I start to review them, I’m going to have to recheck them out again. One at a time. I’ll have to start with the one I currently have, though. And we’ll go from there.
theExplore Student & Staff Innovation Initiative has opened for applications.
1) Come up with an innovative idea
2) Team up with a staff or student partner
3) Apply to EXPLORE for €1,000 funding
4) Put idea into action!
5) Jazz Hands
More information at www.su.nuigalway.ie/explore/apply and at emmet.connolly@nuigalway.ie
This is a colloquium on
THINKING ABOUT CELTIC MYTHOLOGY IN THE 21ST CENTURY
will be held at Celtic and Scottish Studies, University of Edinburgh 27 George Square, Edinburgh, Scotland Saturday, 19 October – Monday, 21 October 2013
The opening presentation, “The study of Celtic mythology after Grammatica Celtica; or, ’Tis 160 years since”, by Professor Bernhard Maier (University of Tūbingen) will provide an overview of past scholarship in the field that will form the historical basis for the exploration of the present and the potential future throughout the rest of the colloquium. The closing presentation on Monday evening will be by Dr John Carey (University College Cork) on “Ogmios and the eternal word”.
CALL FOR PAPERS
You are invited to submit by 13 September 2013, either (a) a paper title and abstract (80-150 words), and/or (b) an indication of the area you would like to cover and the approach you would take in a forum discussion on the theme of the colloquium. The committee will consider the submissions immediately and will send a response and a draft programme by 17 September. The closing presentation will be a public lecture. It is hoped that the colloquium as a whole will generate lively discussion that may be of benefit for developments in this field.
Please submit to: E.Lyle@ed.ac.uk
Committee:
Professor Rob Dunbar, Dr Emily Lyle (organiser), Professor Wilson McLeod, and Dr John Shaw.
For nearly half a century, Stephen Sondheim has extended the expressive possibilities of the musical theater with music and lyrics of unprecedented complexity and sophistication. He made his Broadway debut as a lyricist, writing words for Leonard Bernstein’s music in West Side Story, and enjoyed his first success as a composer with the songs for A Funny Thing Happened On the Way to the Forum.
Sondheim dominated Broadway in the early 1970s, winning Tony Awards for Best Score in three consecutive years for Company, Follies and A Little Night Music. In these works, he deployed an exhaustive array of musical styles, while breaking with the musical’s traditional sentimentality to explore the disillusionment of maturity. His songs, including “Send in the Clowns” from A Little Night Music, have entered the repertoire of singers around the world.
While the Broadway musical becomes increasingly cautious, Sondheim has only become more daring. Pacific Overtures recounted the history of U.S.- Japanese relations; Sweeney Todd told a ghoulishly humorous story in a continuously sung score of operatic intensity. He shared the 1985 Pulitzer Prize for Drama with playwright James Lapine for their musical Sunday in the Park With George. Sondheim continues to break new ground for the theater in more recent works, includingInto the Woods, Assassins, Passion and his latest, Bounce
Ihttp://www.youtube.com/watch?list=HL1378668528&feature=player_detailpage&v=wn3uBEgRfXQ
Credit to http://www.onoffbroadway.com/2010/03/sondheim-birthday-concert.html
In the five years in between the 75th and 80th birthday concerts, Broadway has received revivals of “Sweeney Todd,” “Company,” Sunday in the Park with George” and “A Little Night Music” with extremely pared down orchestras. I happened to like all these revivals, but I do really miss hearing Sondheim’s scores with a full orchestra. And perhaps that’s why these opportunities to hear songs like “A Little Priest,” “The Ladies Who Lunch” and “Move On” with a full orchestra have become even more rare and important
After Paul Gemignani took the stage, the orchestra jumped into the “Swing your razor” motif from “Sweeney Todd,” only to have David Hyde Pierce leap onstage to beg Gemignani to start with something more festive. As the overture continued, the cast arrived onstage one by one, acting as if they were arriving for a birthday party. (The stage was marked by a giant red birthday present ribbon.) The title of the overture, which combined pieces of many different songs, was apparently titled “Happy Birthday Steve, now I don’t need to give you a present.”
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Karen Olivo and the Shark Girls from the “West Side Story” revival performed “America” in costume, with a slightly reconfigured version of the choreography to suit the Philharmonic stage. rare Sondheim songs were performed from “Do I Hear a Waltz?” and “Hot Spot.
Jonathan Tunick then announced that the next few songs would highlight Sondheim’s 1970s shows. He claimed their quality is “unsurpassed.” Nathan Gunn gave an operatic rendition of “Johanna,” to be followed by him joining Audra McDonald in “Too Many Mornings. Matt Cavenaugh, Jenn Collela, Bobby Steggert and Laura Osnes came together for “You’re Gonna Love Tomorrow.” John McMartin reprised his “Follies” performance with “The Road You Didn’t Take.”
The theme of original cast members returning continued with Chip Zien and Joanna Gleason reprising their roles as Baker and Baker’s Wife with the delightful duet “It Takes Two.” Mandy Patinkin, clad entirely in black, performed “Finishing the Hat” with more vibrato and louder projection than he did in the original Broadway production. In a glorious moment, Bernadette Peters joined him in “Move On.”
In one of the evening’s most amusing moments, George Hearn, Michael Cerveris and Patti LuPone all arrived onstage at once with the opening of “The Worst Pies in London” playing in the background. LuPone, seeing both, left them to duke it out. Hearn took a seat, learning Cerveris to shave him in “Pretty Women,” with Cerveris as Sweeney and Hearn as Judge Turpin. LuPone, returning, performed “A Little Priest” with both men
six of Sondheim’s women enter, all in red: Patti LuPone, Elaine Stritch, Marin Mazzie, Donna Murphy, Audra McDonald and Bernadette Peters. They all sit down and then take turns singing a solo.
LuPone begins with a conversational rendition of “The Ladies Who Lunch,” which ended with Stritch giving her a tight hug. Precious, heartwarming stuff. Mazzie then gave one of the fiercest performances of “Losing My Mind” I’ve ever seen. She’s certainly the most beautiful woman I’ve ever seen perform it, giving the song a real 1940s femme fatale feel. (Is she doing anything in May 2011? Will she be in Washington, DC? I hope so…) Audra followed with the solo version of “The Glamorous Life” from the film version of “A Little Night Music,” nailing this hard soprano song that was meant for a little girl. Donna Murphy reprised her lauded Encores! performance in “Follies” with “Could I Leave you?.”
Finally, a giant chorus made up of actors littered not just the stage but the entire theater (on every level) with “Sunday.” Sondheim, who was sitting on the aisle at the front of the orchestra, finally took the stage to the tune of “Happy Birthday.” Noticeably crying, he offered not a speech but a single quote: “First you are young, then you are middle-aged, then you are wonderful.”
Here is the full song list:
ACT ONE
Overture (bits of “Sweeney Todd,” “Comedy Tonight,” “Rich and Happy,” “Old Friends,” “Company,” “Side by Side”)
“America” – Karen Olivo and the Shark Girls
“We’re Gonna Be Alright (from “Do I Hear a Waltz”) – Marin Mazzie and Jason Danieley
“Don’t Laugh” (from “Hot Spot”) – Victoria Clark
“Johanna” (from “Sweeney Todd”) – Nathan Gunn
“You’re Gonna Love Tomorrow” (from “Follies”) – Bobby Steggert, Laura Osnes, Matt Cavenaugh, Jenn Colella
“Too Many Mornings” (from “Follies”) – Nathan Gunn and Audra McDonald
“The Road You Didn’t Take” (from “Follies”) – John McMartin
“It Takes Two” (from “Into the Woods”) – Chip Zien and Joanna Gleason
“Finishing the Hat” (from “Sunday”) – Mandy Patinkin
“Move On” (from “Sunday) – Mandy Patinkin and Bernadette Peters
“Pretty Women” (from “Sweeney Todd”) – Michael Cerveris and George Hearn
“A Little Priest” (from “Sweeney Todd”) – Patti LuPone, Michael Cerveris, George Hearn
ACT TWO
“Goodbye for Now” (from the film “Reds”) – performed by dancers Blaine Hoven and Maria Riccetto
“So Many People in the World” (from “Saturday Night”) – Laura Benanti
“Beautiful Girls” (from “Follies”) – David Hyde Pierce
“The Ladies Who Lunch” (from “Company”) – Patti LuPone
“Losing My Mind” (from “Follies”) – Marin Mazzie
“The Glamorous Life” (from film version of “A Little Night Music”) – Audra McDonald
“Could I Leave You?” (from “Follies”) – Donna Murphy
“Not a Day Goes By” (from “Merrily”) – Bernadette Peters
“I’m Still Here” (from “Follies”) – Elaine Stritch
“Sunday” (from “Sunday”) – huge chorus
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Stephen Joshua Sondheim was born in New York City. His father, Herbert Sondheim, was a successful dress manufacturer, his mother, Janet Fox, a fashion designer. Young Stephen was given piano lessons from an early age, and showed a distinct aptitude for music, puzzles and mathematics. His parents divorced when he was only ten, and Stephen, an only child, was taken by his mother to live on a farm in Bucks County, Pennsylvania. The area had attracted a number of well-known personalities from the New York theater world; a close neighbor was the playwright, lyricist and producer Oscar Hammerstein II, who had a son Stephen’s age. Stephen Sondheim and Jimmy Hammerstein soon became friends, and Stephen came to see the older Hammerstein as a role model. At the time, Hammerstein was inaugurating his historic collaboration with composer Richard Rodgers. When Sondheim was in his teens, Rodgers and Hammerstein were enjoying unprecedented success with the showsOklahoma! and South Pacific. Sondheim resolved that, like Hammerstein, he too would write for the theater.
Sondheim studied piano seriously through his prep school years, while Hammerstein tutored him in writing for the theater. With Hammerstein’s guidance, he wrote scripts and scores for four shows, a project that occupied Sondheim through his student years at Williams College. On graduation, he was awarded a two-year scholarship to study composition. He studied with the avant-garde composer Milton Babbit, writing a piano concerto and a violin sonata while trying to break into the theater. Sondheim’s first efforts at securing a Broadway assignment fell through, but he found work writing for television, and made the acquaintance of two playwrights who were to play a significant role in his career: Arthur Laurents and Burt Shevelove.
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Although Sondheim aspired to write both words and music, his first Broadway assignments called on him to write either one or the other. At age 25 he was hired to write lyrics for Leonard Bernstein’s music in the landmark musical West Side Story. Before West Side Story opened, he made his Broadway debut as a composer, with incidental music to N. Richard Nash’s play, The Girls of Summer. After the success of West Side Story in 1957, he won a second lyric-writing assignment for the Broadway musical Gypsy. Both shows had scripts by Arthur Laurents and were directed by Jerome Robbins.
The credit, “Music and Lyrics by Stephen Sondheim” finally appeared on Broadway for the first time in 1962. The show, A Funny Thing Happened on the Way to the Forum, was an unqualified success, and introduced the first of Sondheim’s tunes to become a show business standard, “Comedy Tonight.” The script for Forumwas co-written by Sondheim’s friend, Burt Shevelove. Sondheim collaborated with Arthur Laurents again on Anyone Can Whistle (1964). The show closed almost immediately, but has since become a cult favorite; its title song remains a favorite of Sondheim’s admirers.
Sondheim returned to the role of lyricist-for-hire one more time to collaborate with Hammerstein’s old partner Richard Rodgers on Do I Hear a Waltz? in 1965. From then on, he would insist on writing both music and lyrics, although nearly five years would elapse before a new Sondheim musical opened on Broadway. Royalties from West Side Story, Gypsy and Forum, all of which were made into motion pictures, freed him to develop projects of his choosing. In the meantime, he published a remarkable series of word puzzles in New York Magazine. Many critics have related his love of puzzles and word games to the dazzling word play of his lyrics, with their intricate rhyme schemes, internal rhymes, puns and wide-ranging allusions.
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Sondheim made a historic breakthrough as both composer and lyricist with Company (1971), a caustic look at love and marriage in contemporary New York City. The show marked a sharp break with Broadway’s past, and established Sondheim as the most inventive and daring composer working in the musical theater. Company was Sondheim’s first collaboration with director Harold Prince, who had produced both West Side Story andForum. Sondheim’s second collaboration with Prince as director, Follies, paid masterful tribute to the song styles of Broadway’s past, while deploying them to ironic effect in a poignant commentary on the disappointment of middle age and the corrosive effects of nostalgia and self-delusion. While Sondheim’s admirers stood in awe of his accomplishments, his detractors claimed that his work was too bitter to win wide popularity, and his music too sophisticated for popular success. His next production, A Little Night Music, put these doubts to rest. Its elegant, waltz-based score and warm humor charmed audiences on both sides of the Atlantic, while its signature song, “Send in the Clowns,” became an unexpected pop standard.
Sondheim received Tony Awards for the music and lyrics of all three of these shows. The following year, the winning composer thanked Sondheim, “for not writing a show this year.” Sondheim did find time in 1974 to write a show for a performance in the Yale University swimming pool, an adaptation of the classical Greek comedy The Frogs, with a script by his old friend Burt Shevelove. He also co-wrote the screenplay for the fiendishly intricate murder mystery, The Last of Sheila(1973). From 1973 to 1981, Sondheim served as President of the Dramatists Guild, the professional association of playwrights, theatrical composers and lyricists.
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Never content to continue along comfortable or familiar lines, Sondheim and Harold Prince explored further new territory with Pacific Overtures (1976), an imaginative account of relations between Japan and the United States, from the 1850s to the present. Sweeney Todd, The Demon Barber of Fleet Street (1979), adapted an early Victorian melodrama in a combination of grand guignol, bitter satire and Sondheim’s most complex score yet. Sweeney Todd enjoyed a healthy run and brought Sondheim another Tony Award. While a number of Sondheim’s shows have enjoyed successful revivals in the commercial theater, Sweeney Todd and A Little Night Music have found a second home in the opera houses of the world, where classical standards of musicianship can do justice to their soaring scores.
Sweeney Todd marked the climax of Sondheim’s long collaboration with Harold Prince. Merrily We Roll Along(1981), adapted from a bittersweet Kaufman and Hart drama of the 1930s, was the last of their shows together. Although Sondheim and Prince remained close friends, they sought renewed inspiration in collaboration with others. Sondheim embarked on a partnership with playwright and director James Lapine.
The first fruit of their collaboration was Sunday in the Park With George (1984), a work inspired by Georges Seurat’s pointillist painting, “Sunday Afternoon On the Isle of the Grande Jatte.” The play intertwines the story of Seurat and his mistress with that of a contemporary painter and his lover.Sunday in the Park With George was a solid success, and brought Sondheim and Lapine the Pulitzer Prize for Drama, a rare instance of the Pulitzer committee honoring a musical play. Into the Woods (1987), another collaboration with Lapine, sought the meaning inside some of the most familiar childhood fairly tales, and has been produced successfully all over the United States.
Between Broadway assignments, Sondheim has written scores for the films Stavisky (1974) andReds (1981), and contributed songs to the films The Seven Percent Solution (1976) and Dick Tracy (1990). “Sooner or Later,” written for Dick Tracy, won him an Oscar for Best Song. In 1990, Sondheim spent a term as the first Visiting Professor of Contemporary Theatre at Oxford University. In his own country, he was honored with the National Medal of Arts.
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One of Sondheim’s most disturbing productions was Assassins (1990), an examination of the motives and delusions of the men who murdered American presidents.Passion (1994), another collaboration with James Lapine, took a dark, intimate story of unrequited love and set it to music of heartrending poignancy. As the Broadway theater has turned to more predictable fare, Sondheim and his collaborators have sought out new venues for his increasingly daring work. Bounce, recounting the follies of the 1920s Florida land boom, opened in Chicago and Washington in 2003. Its script, like that of Pacific Overtures and Assassins, was written by the playwright John Weidman.
Stephen Sondheim’s 75th birthday was celebrated with all-star tribute concerts in New York, London and Los Angeles. In 2008, the American Theatre Wing presented him with a special Tony Award for Lifetime Achievement. At the time, two of his shows, Gypsy and Sunday in the Park With George, were enjoying successful revivals on Broadway. Sondheim has gathered the first 27 years of his writing for the stage in his 2010 book, Finishing the Hat: Collected Lyrics (1954-1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes. The book provides invaluable insight into the art and craft of songwriting, as practiced by an artist of monumental accomplishment.
Over the last 50 years, Sondheim has set an unsurpassed standard of brilliance and artistic integrity in the musical theater. His music, steeped in the history of the American stage, is also deeply informed by the classical tradition and the advances of modern concert music. His words, unequalled in their wit and virtuosity, have recorded a lifetime of profound, unblinking insight into the joys and sorrows of life and love.
King and Maxwell
They’re back! Sean King and Michelle Maxwell – former Secret Service agents turned private investigators, featured in the hit TNT TV series King & Maxwell – return in their most surprising, personal, and dangerous case ever . . .
It seems at first like a simple, tragic story. Tyler Wingo, a teenage boy, learns the awful news that his father, a soldier, was killed in action in Afghanistan. Then the extraordinary happens: Tyler receives a communication from his father . . . after his supposed death.
Tyler hires Sean and Michelle to solve the mystery surrounding his father. But their investigation quickly leads to deeper, more troubling questions. Could Tyler’s father really still be alive? What was his true mission? Could Tyler be the next target?
Sean and Michelle soon realize that they’ve stumbled on to something bigger and more treacherous than anyone could have imagined. And as their hunt for the truth leads them relentlessly to the highest levels of power and to uncovering the most clandestine of secrets, Sean and Michelle are determined to help and protect Tyler–though they may pay for it with their lives.
KING AND MAXWELL – available November 19
Results of the 2013 Seán Ó Faoláin
International Short Story Competition.
1st & 2nd prize winning stories, and the four runners-up, will be published
in the December 2013 issue of Southword Journal.
1st Prize
Molia Dumbleton–Illinois, USA
‘The Way We Carried Ourselves’
2nd Prize
Danielle McLaughlin–Co Cork, Ireland
‘The Others’
Runners-up
Ariel Berry–Indiana, USA
‘To the Stranger in the Corner Drawing Wings on a Napkin with a Felt-tip Pen’
Kevin Doyle–Cork, Ireland
‘We Should Be Beyond This’
Aoife Fitzpatrick–Dublin, Ireland
‘The Observable Universe’
Gaynell Gavin–South Carolina, USA
‘Blue Hour’
Highly Commended
Joanna Campbell–Gloucestershire, UK
‘When Saturday Stopped’
Tracey Iceton–Stockton-on-Tees, UK
‘Butterfly Wings’
P.A. Gallagher–Belfast, Northern Ireland
‘The Winner’
Ruth Joffre–Iowa, USA
‘Three Sides Surrounded by Mountains, One Side by Water’
Aviya Kushner–Illinois, USA
‘Miriam’
Sheila Mulhern–Newcastle-upon-Tyne, UK
‘The Thaw’
Siobhan Murtagh–Co Kildare, Ireland
‘Praying to Rubens’
Joseph Neal–New York, USA
‘The Heavy Man’
Jill Widner–Washington, USA
‘When Stars Fell Like Salt Before the Revolution’
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More information about the Seán Ó Faoláin Prize print anthology here, containing the winning stories from the last 10 years of the competition.
Want to be the first to hear about next year’s competition? Sign up for their email newsletter! http://www.munsterlit.ie/#newsletter
______________
THE 2013 RTÉ GUIDE / PENGUIN
IRELAND SHORT STORY
COMPETITION
Although the number of entries for this year’s competition
was down slightly on 2012, the quality was unquestionably
higher. From a high calibre shortlist, the judges, after much
deliberation, chose Soft Rain by Trisha McKinney, a touching
and compelling tale of two men bound by blood and
circumstance.
Shortlist for the 2013 RTÉ Guide / Penguin Ireland Short
Story Competition
Berry Nide by June Caldwell, Glasnevin, Dublin 9.
Daisy by Kathryn Burke, Clontarf, Dublin 3
The Hireling by Maureen Gallagher, Rahoon, Galway, Ireland
The Last Time I Saw Valerie by Mary Róisín McGill, Athenry,
Co Galway
Head Shot by John Martin, Kilcullen, County Kildare
Extra Virgin Olive Oil by Brigid O’Connor, Ratoath, Co Meath
A Day Unlike Any Other by Martin Malone, Kilmead, Athy,
Co Kildare
Cowtime by Micheál O’Flaherty, Mallow, Co Cork
My First Cigarette by Ciarán Folan, An Spidéal, Co Galway
Congrats to all 🙂
List of titles of works based on Shakespearean phrases (Photo credit: Wikipedia)
Theese look good if you are live in London or the UK
KING LEAR – A Rehearsed Reading with Joss Ackland
Sunday 29 September 2013 3pm
I am a man, More sinn’d against than sinning
Now at the age of “fourscore and upward”, veteran actor Joss Ackland takes on the Everest of Shakespearean roles in a unprecedented play reading of King Lear. Directed by Jonathan Miller and supported by an all-star cast, Joss will be returning to his theatrical roots 60 years after joining The Old Vic Company.
Cast cast includes:
| Joss Ackland | King Lear |
| Greta Scaachi | Regan |
| Honeysuckle Weeks | Cordelia |
| Tony Robinson | Fool |
| Michael York | Duke of Albany |
| John Nettles | Duke of Cornwall |
| Barry Rutter | Earl of Kent |
| Tony Britton | Earl of Gloucester |
| Lee Ingleby | Edgar |
| Shaun Dooley | Edmund |
| Jos Vantyler | Oswald |
| Jack Tarlton | King of France/ Servant/ Captain |
| Paul Dodds | Duke of Burgundy/ Servant/ Herald |
| Robert Young | Old Man/ Knight/ Gentleman |
| Vernon Dobtcheff | Curan/ Gentleman/ Doctor |
Directed by Jonathan Miller
In Ancient Britain an aged King Lear weary of the burden of his position decides to divide his realm between his three daughters. When his trust is abused and the rashness of his decision is realised his outraged sense of powerlessness and emasculation sets him on a chaotic course towards madness and death.
In Support of the Motor Neurone Disease Association.
Running time approx 2 hours 30 including interval
This event has been kindly supported by JM Finn & Co.
and drum roll please James Earl Jones and Vanessa Redgrave from the stage adaption of Driving Miss Daisy both in the West End and on Broadway and will reunite on The Old Vic stage.
This picture should speak volumes about whats to come ! but anyways
7 September – 30 November
‘Some Cupid kills with arrows, some with traps’
James Earl Jones and Vanessa Redgrave play warring lovers Benedick and Beatrice in Shakespeare’s timeless comedy Much Ado About Nothing, directed byMark Rylance.
While young lovers Claudio and Hero have their forthcoming nuptials threatened by the resentful scheming of a Prince, marriage seems out of the question for reluctant lovers Beatrice and Benedick in this witty comedy about the never ending search for perfect love.
James Earl Jones and Vanessa Redgrave recently starred in Driving Miss Daisy both in the West End and on Broadway and will reunite on The Old Vic stage to play these iconic roles for the first time.
Mark Rylance was Artistic Director of Shakespeare’s Globe for 10 years, during this time he directed and performed in numerous productions. His recent acting credits include Richard III and Twelfth Night (Shakespeare’s Globe and West End) and the critically acclaimed Jerusalem.
Take a look at images from Much Ado About Nothing rehearsals here.
The cast in alphabetical order:
| Tim Barlow | Verges | Director Mark Rylance Designer Ultz Lighting Mimi Jordan Sherin Music Clare van Kampen Sound Emma Laxton Movement Siân Williams Casting Siobhan Bracke |
| Penelope Beaumont | Ursula | |
| Kingsley Ben-Adir | Borachio | |
| Katherine Carlton | Beryl | |
| Beth Cooke | Hero | |
| Alan David | Antonio & Watch | |
| Michael Elwyn | Leonato | |
| Lloyd Everitt | Claudio | |
| James Garnon | Don Pedro | |
| Melody Grove | Margaret | |
| James Earl Jones | Benedick | |
| Trevor Laird | Conrade | |
| Leroy Osei-Bonsu | Messenger | |
| Vanessa Redgrave | Beatrice | |
| Mark Ross | Sexton | |
| Peter Wight | Dogberry & Friar Francis | |
| Danny Lee Wynter | Don John |
With:
Tyler Hunter, Henry Markham Hare & Samuel Stembridge-King playing Hugh Oatcake.
Samuel Allum, Charlie Beazley-Clarke & Gene Gurie playing George Seacoal.
Mark Rylance in Conversation – 18 September 2013 5.30pm
Renowned actor and director, Mark Rylance, will be giving an in-depth talk on Wednesday 18 September about directing Much Ado About Nothing at The Old Vic.Tickets £5.
Q&A with members of the company – 3 October 2013
A post-show discussion with members of the company giving audience members the opportunity to ask questions about the production and discover some of the secrets hidden behind the scenes.
The event is free to attend, but priority booking is given to members of The Old Vic Club and Friends before tickets are made generally available. For full details of the membership and our programme of events please visit our Support Us pages.
Please note – you must have a ticket to the performance to attend the Q & A session post show.
Two of the largest Irish diaspora sites, Irishcentral.com and World Irish.com, have announced that they are to merge.
The new entity, which will be known as Irish Central.com, will have offices in New York and Dublin.
The merger will take effect from 15 September.
“We are delighted to join with John McColgan and the team at World Irish,” Irishcentral.com founder Niall O’Dowd said.
Mr McColgan will be a director of and advisor to the new merged entity.
***
IrishCentral.com and WorldIrish.com, the two largest Irish diaspora sites have today announced a decision to merge.
The new entity which will continue as IrishCentral.com will have offices in New York and Dublin.
The combined entity will have over 2 million unique visitors monthly making it by far the biggest Irish diaspora website. The merger will take full effect from September 15.
“We are delighted to join with John McColgan and the team at WorldIrish,” IrishCentral founder Niall O’Dowd said. “We believe the potential to create a super site worldwide for the Irish is very real.”
John McColgan, founder of WorldIrish.com, will be a director of and advisor to the new merged entity.
“John has proven through Riverdance and WorldIrish that he has a deep and important understanding of the Irish Diaspora and he has never been afraid to put voice to that vision. We look forward to working with his vision at IrishCentral,” Niall added.
Noting that the Irish Post in Britain also recently bought in to Irish America Magazine and Irish Voice newspaper, sister publications of Irish Central, Mr O’Dowd stated: “Clearly there is enormous potential in this area to create a super site for the 70 million Irish worldwide in U.S., Britain, Australia, Canada, Asia and Ireland.”
John McColgan said: “This is a truly exciting opportunity for WorldIrish to grow and develop under the IrishCentral.com brand.
“In a relatively short period WorldIrish.com has established a successful platform and this merger is a logical development to achieve greater global traction for the Irish diaspora,” he added.
jwcreativeconsultants.com
A place where students, alumni and allies of the School of Disability Studies at Toronto Metropolitan University can discuss and engage.
Freelance Writer, Ever Stagey, Living Life on Four Wheels!
| Aran Ward Sell | Blog & Writing |
Reflections from the community
Writing, Research, and Miscellany
Navigating the challenges of graduate school with shoddy mental health
researchers from the University of Limerick and Mary Immaculate College, Limerick
The View from The DJ booth 