A few weekends ago The Irish Times Theatre Awards 2017 were published

What a list lad

Best of luck to all nominated and all the theatre companies

Break a leg

Best Actor

Mikel Murfi
For his performance in Swan Lake/Loch na hEala, a Michael Keegan-Dolan, Sadler’s Wells Theatre London, Colours International Dance Festival, Theaterhaus Stuttgart, Dublin Theatre Festival, and Theatre de la Ville, Luxembourg co-production

Marty Rea
For his roles as Vladimir in the Druid production of Waiting for Godot, by Samuel Beckett, and as Iago in the Abbey Theatre production of Othello, by William Shakespeare

Stephen Rea
For his role as Eric in the Abbey Theatre and Royal Court Theatre co-production of Cyprus Avenue, by David Ireland

Owen Roe
For his role as Andre in the Gate Theatre production of Florian Zeller’s The Father, in a translation by Christopher Hampton

Best Actress

Barbara Brennan
For her role as Ellen in the Abbey Theatre production of Town is Dead, by Phillip McMahon, music by Raymond Scannell

Caitríona Ennis
For her performance in the WeGetHighOnThis Collective in association with Theatre Upstairs production of Test Dummy, by Caitríona Daly

Marie Mullen
For her role as Mag Folan in the Druid production of The Beauty Queen of Leenane, by Martin McDonagh

Aisling O’Sullivan
For her role as Maureen Folan in the Druid production of The Beauty Queen of Leenane, by Martin McDonagh

Best Supporting Actor

Stephen Brennan
For his role as Peter Sorin in The Corn Exchange and Dublin Theatre Festival production of The Seagull, by Anton Chekhov in a new version by Michael West and Annie Ryan

Brian Doherty
For his role as Finbar in the Abbey Theatre’s production of The Wake, by Tom Murphy

Rory Nolan
For his role as Pozzo in the Druid production of Waiting for Godot, by Samuel Beckett

Daniel Reardon
For his role in the Brokentalkers production of This Beach, a co-production with the Munich Kammerspiele, the Goethe-Institut Irland presented as part of EUROPOLY at Tiger Dublin Fringe
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Best Supporting Actress

Kate Gilmore
For her role as Katarina in the Abbey Theatre production of Town is Dead, by Phillip McMahon, music by Raymond Scannell

Clare Monnelly
For her role as Mary in the Nomad in association with Livin’ Dred Theatre Company production of Bailegangaire, by Tom Murphy

Janet Moran
For her role as Mrs Gogan in the Abbey Theatre production of The Plough and the Stars, by Sean O’Casey

Ali White
For her roles in Rough Magic Theatre Company’s production of Northern Star, by Stewart Parker

Best Director

Grace Dyas and Barry John O’Connor
For the THEATREclub production of It’s Not Over

Sean Holmes
For the Abbey Theatre production of The Plough and the Stars, by Sean O’Casey

Garry Hynes
For the Druid productions of Waiting for Godot, by Samuel Beckett and The Beauty Queen of Leenane, by Martin McDonagh

Michael Keegan-Dolan
For Swan Lake/Loch na hEala, a Michael Keegan-Dolan, Sadler’s Wells Theatre London, Colours International Dance Festival, Theaterhaus Stuttgart, Dublin Theatre Festival, and Theatre de la Ville, Luxembourg co-production

Best Production

Swan Lake/Loch na hEala
A Michael Keegan-Dolan, Sadler’s Wells Theatre London, Colours International Dance Festival, Theaterhaus Stuttgart, Dublin Theatre Festival, and Theatre de la Ville, Luxembourg co-production

The Father
A Gate Theatre production of Florian Zeller’s play, in a translation by Christopher Hampton

The Plough and The Stars
An Abbey Theatre production of Sean O’Casey’s play

Waiting for Godot
A Druid production of Samuel Beckett’s play

Best Set Design

Ciaran Bagnall
For the Abbey Theatre, Headlong, Citizens Theatre and Liverpool Everyman and Playhouse co-production of Observe the Sons of Ulster Marching Towards the Somme, by Frank McGuinness

Alex Lowde
For the Lyric Theatre production of Three Sisters by Lucy Caldwell, in a version of the play by Anton Chekhov

Francis O’Connor
For the Gate Theatre production of Florian Zeller’s The Father, in a translation by Christopher Hampton

Jamie Vartan
For the Blue Raincoat Theatre Company production of Shackleton, the Landmark Productions and Galway International Arts Festival production of Arlington [a love story], by Enda Walsh and the Wide Open Opera production of The Barber of Seville, by Gioacchino Rossini

Best Lighting Design

Zia Bergin-Holly
For the Pan Pan production of The Importance of Nothing, after Oscar Wilde adapted by the ensemble

Hanna Bowe
For the Umbrella Theatre Project production of Glowworm, by Tom Nieboer

Paul Keogan
For the Abbey Theatre, Headlong, Citizens Theatre and Liverpool Everyman and Playhouse co-production of of Observe the Sons of Ulster Marching Towards the Somme, by Frank McGuinness and with Aedín Cosgrove for the Corcadorca production of Sacrifice at Easter, by Pat McCabe

Sarah Jane Shiels
For the Abbey Theatre production of Town is Dead, by Phillip McMahon, music by Raymond Scannell

Best Sound Design

Ben Delaney, Raymond Scannell
For the Abbey Theatre production of Town Is Dead, by Phillip McMahon, with musical director Cathal Synnott

Joe Hunt
For the Blue Raincoat Theatre Company production of Shackleton

Emma Laxton, Stephen Warbeck
For the Abbey Theatre, Headlong, Citizens Theatre and Liverpool Everyman and Playhouse co-production of Observe the Sons of Ulster Marching Towards the Somme, by Frank McGuinness

Helen Atkinson, Teho Teardo
For Landmark Productions and Galway International Arts Festival’s Arlington [a love story] by Enda Walsh

Best Costume Design

Catherine Fay
For the Abbey Theatre production of Sean O’Casey’s The Plough and The Stars

Jonathan Fensom
For the Gate Theatre production of The Heiress, by Ruth & Augustus Goetz, based on the novel Washington Square by Henry James

Joan O’Clery
For the Rough Magic Theatre Company’s production of Stewart Parker’s Northern Star

Hyemi Shin
For the Michael Keegan-Dolan, Sadler’s Wells Theatre London, Colours International Dance Festival, Theaterhaus Stuttgart, Dublin Theatre Festival, and Theatre de la Ville, Luxembourg co-production of Swan Lake/Loch na hEala

Best New Play

Cyprus Avenue
By David Ireland, produced by the Abbey Theatre and Royal Court Theatre

Shackleton
By Blue Raincoat Theatre Company, developed with Jocelyn Clarke

Test Dummy
By Caitríona Daly, produced by WeGetHighOnThis Collective in association with Theatre Upstairs

Town Is Dead
By Phillip McMahon, music by Raymond Scannell, produced by the Abbey Theatre

Best Opera

Herculanum
Wexford Festival Opera’s production of Félicien David’s work, presented with the support of Palazzetto Bru Zane

Long Story Short: The Belfast Opera
A Belfast Buildings Trust production featuring a Community Chorus, composed by Neil Martin, libretto by Glenn Patterson

The Barber of Seville
Wide Open Opera’s production of Gioacchino Rossini’s work

Vanessa
Wexford Festival Opera’s production of Samuel Barber’s work

Judges’ Special Award

Anu Productions
For sustained imaginative engagement with the commemoration of 1916 throughout the year

Dublin Fringe Festival, Fishamble and the Irish Theatre Institute
For creating Show in a Bag which has enabled the production of outstanding work such as, in the last year, To Hell in a Handbag and The Humours of Bandon

Nomad Theatre Network
For its ongoing commitment to producing and touring theatre regionally and nationally, most recently with the Livin’ Dred Theatre Company’s production of Bailegangaire, by Tom Murphy

Theatre Lovett
For the inventiveness of their work, most recently represented in They Called Her Vivaldi, and the company’s ongoing contribution to children’s theatre

Special Tribute

Siobhán Bourke and Jane Daly
For their essential work with the Irish Theatre Institute and long-standing commitment to Irish theatre

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Theatre's Not Dead!

Stacy, written by Jack Thorne is a one man play which really does pull the rug from underneath you and then continues to hit you round the head with it. It’s fast, hilarious and shocking, performed with tremendous skill by actor Nick McQuillan.

I don’t want to give too much away, as part of the power of the production is the surprise of it all. It follows the story of Rob, a sort of everyman who has just had sex with his best friend, the titular Stacy. It takes in his whole life leading up to this moment and the immediate consequences. The writing is incredibly sharp and no word goes amiss in this complex and multi-layered story. It truly is a feat of writing; It seems at times one of the most honest pieces of theatre I have seen and then at times the most deceptive. It’s rude and…

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Theatre's Not Dead!

‘Chicken Soup with Barley’, while being a hearty meal makes for a largely depressing play. Heavily political it charts the success of capitalism and the death of socialism accelerated by gaps of ten years in London’s East End. It’s depressing because it’s about the death of ideas and progress, and a violent call to arms against political apathy which seemingly has fallen on deaf ears. Shocking when it was first performed, the overtly political messages of the play have lost none of their zeal today, and it is easy to see why theRoyal Court have chosen to stage it.

Politically ‘Important’ and ‘Relevant’ it may be, I found the play to be a gloomy experience with little in the way of catharsis; it was far more about ideas than people. The characters were all quite extravagant and representative of political identities that I felt little attachment to them, and didn’t…

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Come see my MA classmate Cloina in action in oct 2016 she is excellent

1916home2016

Lady Justice is a work in development that seeks to dramatize the story of the survivors of Symphysiotomy and their ongoing campaign for justice as well as interrogating wider issues of power, knowledge and authority.

It originated from a ten minute performance in December 2015 as part of a practice-as-research project investigating the ‘representation of the real’ in documentary theatre. The original performance ‘Walking on Thorns’ used a multi-media documentary theatre format and incorporated elements of video, projection, shadow puppetry, masks and movement. It relied heavily on primary source material and included audio testimony from survivors.

Survivors of Symphysiotomy #SOS is the largest advocacy and support group in Ireland for women who underwent the procedure. Information about them can be found here

http://symphysiotomyireland.com

Dates and Location

Saturday 8th October, Galway, Venue & Time TBC

Booking

TBC

About the Artist

Clíona O Connell is a part-time MA student in the…

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The Director's Vision

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Just a quick post today to direct you to another cool blog (see what I did there?).  New York-based director Cat Parker has assembled an impressive array of sharp interviews with colleagues she calls “NYC’s Indie Stage Directors.”  They make for insightful, informative, interesting reading, and I recommend them to fellow students of directing.

I hope you’ll visit Cat’s blog, DirectorSpeak.

A tip of the hat to the great Regina Taylor for making me aware (on Facebook) of the existence of Cat’s blog.

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Link  —  Posted: June 30, 2016 in Uncategorized

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