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Emmet Kirwan

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Emmet Kirwan EMMET KIRWAN Height 6’ Hair: Brown Eyes: Blue FILM includes (most recently) director Jason in DUBLIN OLDSCHOOL Dave Tynan DOS Prods Mark in NICE NIGHT FOR IT Rachel Carney Night Films Poet in HEARTBREAK Dave Tynan H Films Frank in WAVE Ben Cleary Assembly Larry in PURSUIT Paul Mercier AGM Prods 71 Yann Demange Run 71 Ltd Debo in THE BREAK Ken Williams Deathpark Pics JUST SAYIN’ Dave Tynan Kennedy Films Dean in TWO HEARTS Darren Thornton Calipo Billy in DUBLIN IN PIECES Rick Larkin i-Wire Films Terry in PORCELIN Gavin Cleland Inis Films James in SHATTERED Rick Larkin I-Wire Films Clive in THE BOYS AND GIRL FROM COUNTY CLARE John Irvin Metro Goldwyn INSIDE I’M DANCING Damien O’Donnell Universal ELLA ENCHANTED Tommy O’Haver Miramax TELEVISION includes: Bryson in JACK TAYLOR Stuart Orme Samson THE SILENCE Derbhla Walsh Company Pics/BBC Steve in SARAH AND STEVE David Coffey Accomplice/RTE Shane in THE TAKE David Drury Sky Animal in LEGEND Robert Quinn / Charlie McCarthy RTE / Icebox Films Ray McDermott in THE BIG BOW WOW Derbhla Walsh/Liz Gill RTE / Granada Cont 24 Adelaide Street, Dun Laoghaire, Co. Dublin T: 1 663 8646 www.macfarlane-chard.ie Registered in Ireland Co No: 422112I VAT no: IE 6442112F. Registered under the Data Protection Act Registered Office: 32 Upper Mount Street, Dublin 2 Page 2 EMMET KIRWAN THEATRE includes: Da in TRAD Aaron Monaghan Livin’ Dred Eamon in ARISTOCRATS Lyndsey Turner Donmar Warehouse Poet in RIOT Phillip McMahon Vicar St/New York/Sydney DUBLIN OLDSCHOOL Phillip McMahon Bewleys / Project Arts & National Theatre London Charles Bentham in JUNO AND THE PAYCOCK Mark O ‘Rowe Gate Theatre Adam in THE TRAIN Lynne Parker Rough Magic Tim in THE GOOD FATHER Mark O’Brien Axis Theatre Czolgosz in ASSASSINS Ronan Phealan Rough Magic Matt in THE THREEPENNY OPERA Wayne Jordan Gate Theatre Bronterre in MAJOR BARBARA Annabelle Comyn Abbey Theatre Young Eric in THE LIFE AND SORT OF DEATH OF ERIC ARGYLE Smock Alley Theatre & Dan Heard Soho Theatre London THE PICTURE OF DORIAN GRAY Neil Bartlett Abbey Theatre ALICE IN FUNDERLAND Wayne Jordan Abbey Theatre Darren in BOGBOY Jo Mangan Tall Tales – The Irish Centre New York & Irish Tour Ray in CHICANE Paul Meade Guna Nua Darren in BOGBOY Jo Mangan Tall Tales / Project Shay in SHAY AND AISLING’S STORY Paul Mesde Guna Nua IN REAL TIME Felim Canon / Gary Keegan Brokentalkers ALONE IT STANDS Ciaron McMahon Lane Prod / Olympia Ion in MUSHROOM Liam Halligan Storytellers Dave in MONGED Jim Culleton Fishamble ONE Gavin Quinn PanPan Bertie in NO MESSIN WITH THE MONKEYS Louis Lovett The Ark Theatre Joey in THE INDIAN WANTS THE COOMBE Alan King Purple Hart TC Malachy Hogan in WHERE HE LIES Terry Devlin Island Theatre Co Joe in LOVERS Terry Devlin Island Theatre Co Henry in ELECTION NIGHT Joan Sheehy Bewley’s Café Theatre Billy in LADIES AND GENTS Karl Shiels Semper Fi / Traverse Cont…. 24 Adelaide Street, Dun Laoghaire, Co. Dublin T: 1 663 8646 www.macfarlane-chard.ie Registered in Ireland Co No: 422112I VAT no: IE 6442112F. Registered under the Data Protection Act Registered Office: 32 Upper Mount Street, Dublin 2 Page 3 EMMET KIRWAN THEATRE continued: Percival in UGLY PENGUIN SCENARIOS Crypt Arts Centre Jonny in ANOTHER 24 HOURS Ronan Wilmot Semper Fi / Project Emmet in CAR SHOW Veronica Coburn Corn Exchange/Barabas Dr Grun in THE MADMAN AND THE NUN Nicole Wiley Crypt Arts Centre Steve in RENT Phil Wilmot Olympia Theatre Geetar in BUZZIN TO BITS Veronica Coburn Project @ The Mint PERICLES Gerry Stembridge Project @ The Mint Skills : Counter Tenor; Horse Riding; Football; Soccer; Hockey 24 Adelaide Street, Dun Laoghaire, Co. Dublin T: 1 663 8646 www.macfarlane-chard.ie Registered in Ireland Co No: 422112I VAT no: IE 6442112F. Registered under the Data Protection Act Registered Office: 32 Upper Mount Street, Dublin 2 .
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  • Juno and the Paycock by Sean O’ Casey
    FACTFILE: GCSE DRAMA Component 3 Knowledge and Understanding of Drama, Exploration of the Set Text Juno and the Paycock by Sean O’ Casey Social • The play deals with inner-city Dublin working class people in 1922; • The living conditions of the Boyle family is a two-roomed tenancy in a tenement house in a street within walking distance of the city centre. The conditions are very cramped for four adults and there is a bed in the living room and kitchen. Bathroom facilities were shared with all the residents of the tenement which could be up to ten families; • Mary is trying to lift herself out of the working class and Charles Bentham seems to offer her that opportunity as he speaks and dresses better than all the other characters; • Jerry Devine represents the Labour Movement which was growing at the time just as communism was growing in Russia; • The play is set just after the Civil War in Ireland and the social unrest continued as Robbie Tancred’s funeral takes place during the play and Johnny Boyle is taken away and shot for not continuing to fight for the cause. Cultural • O’Casey himself lived in Dorset Street, north Dublin and his family was ‘shabby-genteel’ but he set his plays in the working-class culture which he would have seen in the streets close by; • His father died when he was six and his plays are dominated by hard-working and strong women such as Juno Boyle; • His interest grew in the Irish nationalist cause and he joined the Gaelic League and became General Secretary of the Irish Citizen Army so became steeped in the culture
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  • Colour in the Plays of Sean O'casey
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  • The Plough and the Stars Senior Cycle Lesson Activities the Plough
    The Plough and the Stars Senior Cycle Lesson Activities The Plough and the Stars was first performed in 1926. Sean O’Casey, a former member of the Irish Citizen Army and a socialist, stated that he wrote The Plough and the Stars because there was “no play yet around the period of the actual Easter Rising, which was the beginning of all that happened afterward.” The play featured the poor people who lived in Dublin’s tenements, and highlights the tough living conditions as well as showing the disruption to their lives during the Rising. The play highlights the background to as well as the brutal realities of the Easter Rebellion. It concludes after great sadness - Nora Clitheroe has a breakdown after the death of her husband and her newborn child; Mrs. Gogan’s daughter (Mollser) dies of tuberculosis; the play ends with Bessie Burgess killed by a British army sniper after moving Nora away from the window of her tenement flat. The following activities are intended to indicate how the interpretation of O’Casey’s play that is based around the 1916 Rising, and some of his other works, have changed since the first staging of The Plough and the Stars in 1926, when republicans demonstrated during its staging at the Abbey Theatre. Activity One: The Plough and The Stars, riots in the Abbey Theatre, 1926. A group of republicans who objected to the depiction of the rebels of 1916 demonstrated inside the theatre In February 1926, during the fourth performance of The Plough and The Stars, republican protesters, including some widows of men who died in 1916 rising, caused a major disturbance, interrupting the performance of the play.
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  • Tragi Comedy in Sean O`Casey`S Juno and the Paycock
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  • Read the Performance Program Here!
    IRISH REPERTORY THEATRE A PERFORMANCE ON SCREEN IRISH REPERTORY THEATRE CHARLOTTE MOORE, ARTISTIC DIRECTOR | CIARÁN O’REILLY, PRODUCING DIRECTOR A PERFORMANCE ON SCREEN Irish Repertory Theatre Presents In association with Bonnie Timmermann THE CORDELIA DREAM BY MARINA CARR DIRECTED BY JOE O'BYRNE STARRING STEPHEN BRENNAN AND DANIELLE RYAN cinematography & editor set design costume design sound design & original music NICK ROBERT JESSICA DAVID RYAN BALLAGH CASHIN DOWNES production manager stage manager press representatives general manager LEO AIDAN MATT ROSS LISA MCKENNA DOHENY PUBLIC RELATIONS FANE TIME & PLACE The Present - Dublin, Ireland Running Time: 90 minutes, no intermission SPECIAL THANKS Anthony Fox, Eva Walsh, Rhona Gouldson, Archie Chen, and a very special thanks to the Howard Gilman Foundation for their support of our digital initiatives. The Cordelia Dream was first presented by the Royal Shakespeare Company at Wilton’s Music Hall on December 11, 2008. THIS PRODUCTION IS MADE POSSIBLE WITH PUBLIC FUNDS FROM THE NEW YORK STATE COUNCIL ON THE ARTS, THE NEW YORK CITY DEPARTMENT OF CULTURAL AFFAIRS, AND OTHER PRIVATE FOUNDATIONS AND CORPORATIONS, AND WITH THE ASSISTANCE OF THE MANY GENEROUS MEMBERS OF IRISH REPERTORY THEATRE’S PATRON’S CIRCLE. WHO’S WHO IN THE CAST STEPHEN BRENNAN the Paycock (Guthrie Theatre, (Man) Stephen was a Minneapolis), Sorin in The Seagull member of the Abbey (Dublin Festival), John Bosco in The Theatre company from Chastitute (Gaiety, Dublin), The Captain 1975, playing a wide in Woyzeck in Winter (Galway Festival/ variety of roles including Barbican) and Hornby in A Kind of Joe Dowling's production Alaska (Pinter Festival, Lincoln Centre).
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  • Front Matter Template
    Copyright by Dasan Kim 2013 The Dissertation Committee for Dasan Kim Certifies that this is the approved version of the following dissertation: Myths of Home and Nation: Conventions of Victorian Domestic Melodrama in O’Casey, Osborne, and Pinter Committee: James N. Loehlin, Supervisor Elizabeth Richmond-Garza Carol H. Mackay Lynn R. Wilkinson David Kornhaber Myths of Home and Nation: Conventions of Victorian Domestic Melodrama in O’Casey, Osborne, and Pinter by Dasan Kim, B.A.;M.A.;M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2013 Dedication To my family Myths of Home and Nation: Conventions of Victorian Domestic Melodrama in O’Casey, Osborne, and Pinter Dasan Kim, Ph.D. The University of Texas at Austin, 2013 Supervisor: James N. Loehlin This dissertation demonstrates that twentieth-century dramas by Sean O’Casey, John Osborne, and Harold Pinter continue the convention of nineteenth-century domestic drama. From the expressionist movement, theatre of the absurd, and theatre of anger, to the theatre of extremes, diverse theatrical experiments in the twentieth century urged critics to focus on the contemporary theatrical effort to break away from convention. Consequently, critics have often emphasized the disconnectedness of the twentieth- century avant-garde theatre from nineteenth-century conventions, especially from the tradition of the well-made drawing room drama. My thesis focuses on the trajectory of the nineteenth-century domestic melodrama. Despite the seeming disconnection, nineteenth-century domestic melodrama still lurks within political theatre in the twentieth century as a cultural inheritance.
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  • O'casey, Sean List 75
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  • MICHIGAN;STATE COLLEGE.- Ghome Fred Vase-I .1952
    A STUDY OF THE PLAYS ’or SEAN O'CASEY Thai: for H10 Dear,“ of M. A. MICHIGAN;STATE COLLEGE.- Ghome Fred Vase-I .1952 " (3: ‘i 'N-fi', . .. 1‘ I i ‘ r ‘ ' £J_L_‘-h-A.——‘AA M¢2--.¢...____.n_ . - -- A k! L 4 ., . {F‘— This is to certify that the thesis entitled A Study of the Plays of Sean O'Casey presented by George Fred Vogel has been accepted towards fulfillment of the requirements for __JidLa__.dqpeein_ihxuxflL__ CZ“! Major proiessor Date March lOthr 1952 A STUDY OF THE PLAYS OF SEAN O'CASEY By George Fred Vogel rid-W. A'THSSIS Submitted to the School of Graduate Studies of Nfichigan State College of Agriculture and-Applied Science in partial fulfillment of the requirements for the degree of warm OF ARTS \ I \ Department of Speech, Dramatics, andpRadio Education 1952 V/"}’;-*’/ 5‘ ‘2 .g‘ (if ; ACK‘LJ O'NL‘J DG‘.’ETTT The author wishes to express his thanks to Dr. David Potter and especially to Mr. Donald Buell and Mr. John Jennings for their help in the preparation of this thesis. Without their patience and help this thesis could never have been completed. ********** ******** ****** **** ** as TABLE OF CODTSHTS CHAPTER IEITRODUCTIOI‘I OOOOOCOOOOOOOOOOOO0.0...OOOOOOOOOOOOOOOOOOOOOO. I. T'ODEZEI IRISZIL HISTOEQYOOO0.0...OOOOOOOOOOOOOOOOOOOO00.0.0.0... 1800-1850.............................................. 1850-1900.............................................. 1900-1914.............................................. 1914-1918.............................................. 1918-1920000000000000O...OOOOOIOOOOOOOOOOOOOOOO00...... 1920-1922.............................................. 1922-1923....IOOOCO..0.0......0.0...OOOOOOOOOOOOOOOOIOC II. A. BRIEF BIOGRAPIIY OF SEMI O'CAsm'oo.cocoooooooooosooosoooooo 18 His Parents and Birth.................................. 18 His Education and Early Jobs........................... 20 His Religious and Social Beliefs......................
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  • A.J. [Con] Leventhal
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  • Juno and the Paycock by Sean O'casey
    Juno and the Paycock by Sean O’Casey Programme notes for the Audio Described Performance at 2pm on 29th October 2011 Hello and welcome to this described performance of Juno and the Paycock by Sean O’Casey in the Abbey Theatre on the 29th October 2011. The play is a co-production between the Abbey Theatre and the National Theatre of Great Britain. The play is directed by Howard Davies, with Set and Costume Design by Bob Crowley, and Lighting Design by James Farncombe. Original Music is provided by Anna Rice, with Sound Design by Ben Delaney. The performance lasts for two hours and fifteen minutes, including one twenty minute interval. About The Audio Description Equipment The audio description equipment comprises of a receiver and an earpiece. The receiver is small enough to be placed in a breast pocket or, using the attached cord, hung around your neck. All the controls for operating the receiver are on the top. From left to right you have the earpiece socket, in the middle you will find the volume control which also functions as an on/off switch, while on the extreme right there is a smaller channel switch. The audio description will be transmitted on Channel 1 only, so it is important that you don’t change this setting. We would encourage patrons to set the volume of the audio description equipment for their personal comfort while also being mindful that patrons adjacent to you may be able to hear the audio. By moving the volume control in a clockwise direction you increase the volume and by moving it in a completely counter clockwise direction you can lower the volume or turn the receiver off.
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  • Siobhán Mckenna Mckenna, Siobhán (1922–86), Actor and Theatre Director, Was Born 24 May 1922 at 28 St James's Park, Off the Falls Road, Belfast, Co
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  • 1 Appropriating Tenement Dublin: Seán O'casey's Juno and The
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