Lauren Larkin

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Lauren Larkin | Represented by Susannah Norris Lauren most recently filmed a lead role alongside Angeline Ball in the Screen Ireland backed feature DEADLY CUTS, directed by Rachel Carey. Work in 2019 included the role of Jackie in THE SNAPPER directed by Róisín McBrinn for the Gate Theatre, Dublin, and was a member of the ensemble company of Dylan Tighe’s PASOLINI’S SALÒ REDUBBED, produced at the Abbey Theatre for Dublin Theatre Festival. Also last year Lauren was nominated for Best Supporting Actress at the Irish Times Theatre Awards for her role as Majella in SHELTER by Cristín Kehoe, directed by Oonagh Murphy for Druid Theatre Co. Playing Age: 20 - 28 Height: 5 ft. 1” Eye Colour: Blue Hair Colour: Red Full Driver’s Licence Champion Irish Dancer FILM DEADLY CUTS | Gemma Screen Ireland & O’Sullivan Productions Rachel Carey TELEVISION LOVE/HATE | Tina Octagon / RTÉ David Caffrey THEATRE PASOLINI’S SALÒ REDUBBED | Ensemble The Abbey Theatre, Ireland’s National Theatre Dylan Tighe THE SNAPPER | Jackie The Gate Theatre Róisín McBrinn RAPIDS | Various Characters Talking Shop Ensemble @ Project Arts Centre Shaun Dunne SPLIT ENDS | Amy Dublin Fringe Festival Show in a Bag Aisling Byrne SHELTER | Majella* Druid Theatre Co., Mick Lally Theatre Oonagh Murphy *Nom. Best Actress Irish Times Theatre Awards 2018 MY SON MY SON | The Mother Project Arts Centre Veronica Dyas THE IRELAND TRILOGY | Ireland THEATREclub / The Abbey Theatre Grace Dyas THE GAME | Various Project Arts Centre Grace Dyas ADVOCACY | Lauren* Talking Shop Ensemble @ Project Arts Centre Grace Dyas *Winner, Best Performer, Dublin Fringe Festival 2014 HISTORY | Ireland THEATREclub @ Project Arts Centre Grace Dyas DEATH OF THE TRADESMEN | Linda Talking Shop Ensemble @ Project Arts Centre Shaun Dunne HEROIN* | Lauren THEATREclub @ Smock Alley Grace Dyas *Spirit of the Fringe Award THE FAMILY | Lauren THEATREclub @ Project Arts Centre Grace Dyas TWENTY TEN | 1* THEATREclub @ Project Arts Centre Doireann Coady & *Nom. Best Female Performer Dublin Fringe Festival 2011 Grace Dyas I AM A HOMEBIRD (IT’S VERY HARD) | Laura Talking Shop Ensemble Project Arts Centre OH! HOW VERY ORDINARY | Sarah Project Arts Centre Veronica Dyas HALF THREE HEROES | Jill Dublin Youth Theatre @ Project Cube Willie White THIS IS STILL LIFE | Screenager Dublin Youth Theatre @ Project Arts Centre Feidlim Cannon & Gary Keegan WHY DO YOU SMOKE SO MUCH, LILY? | Mother Dublin Youth Theatre Seán Kennedy _____________________________________________________________________________________________________________________ Susannah Norris Agency First Floor, 1 Rosemount Terrace, Arbour Hill, Stoneybatter, Dublin, D07 AAC4, Ireland Tel: +353 (0)86 862 8468 | E: [email protected] www.susannahnorris.com .

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The Dublin Gate Theatre Archive, 1928 - 1979
Charles Deering McCormick Library of Special Collections Northwestern University Libraries Dublin Gate Theatre Archive The Dublin Gate Theatre Archive, 1928 - 1979 History: The Dublin Gate Theatre was founded by Hilton Edwards (1903-1982) and Micheál MacLiammóir (1899-1978), two Englishmen who had met touring in Ireland with Anew McMaster's acting company. Edwards was a singer and established Shakespearian actor, and MacLiammóir, actually born Alfred Michael Willmore, had been a noted child actor, then a graphic artist, student of Gaelic, and enthusiast of Celtic culture. Taking their company’s name from Peter Godfrey’s Gate Theatre Studio in London, the young actors' goal was to produce and re-interpret world drama in Dublin, classic and contemporary, providing a new kind of theatre in addition to the established Abbey and its purely Irish plays. Beginning in 1928 in the Peacock Theatre for two seasons, and then in the theatre of the eighteenth century Rotunda Buildings, the two founders, with Edwards as actor, producer and lighting expert, and MacLiammóir as star, costume and scenery designer, along with their supporting board of directors, gave Dublin, and other cities when touring, a long and eclectic list of plays. The Dublin Gate Theatre produced, with their imaginative and innovative style, over 400 different works from Sophocles, Shakespeare, Congreve, Chekhov, Ibsen, O’Neill, Wilde, Shaw, Yeats and many others. They also introduced plays from younger Irish playwrights such as Denis Johnston, Mary Manning, Maura Laverty, Brian Friel, Fr. Desmond Forristal and Micheál MacLiammóir himself. Until his death early in 1978, the year of the Gate’s 50th Anniversary, MacLiammóir wrote, as well as acted and designed for the Gate, plays, revues and three one-man shows, and translated and adapted those of other authors.
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25 Sept –12 Oct 2014 2-012 2- 01
25 Sept –12 Oct 2014 2-012 2- 01 Principal Funder buy tickets online www.dublintheatrefestival.com Grant Aided by phone +353 1 677 8899 in person Dublin Theatre Festival Box Office, 44 East Essex Street, Temple Bar, Dublin 2 Tickets are also available at Follow us on Twitter and most Dublin Theatre Festival Facebook for news, ticket venues (see page 73). competitions and special Presenting Partner Official Accommodation Provider Official Media Partner – offers throughout the festival. 21 July @DubTheatreFest Priority booking opens DublinTheatreFestival for Friends of the Festival. Official Broadcasting Partner Official Radio Partner Festival Champion 12 August Booking opens to the general public online, by phone and in person. – Official Vehicle Partner Opening hours Mon – Fri 10am – 6pm Sat 10am – 5pm (Sept 20 – Oct 11 only) Sun 12pm – 3pm (Sept 28 – Oct 12 only) www.dublintheatrefestival.com www.dublintheatrefestival.com welcome02 contents In order of opening 02-03 performance Hello. We have been working hard for give an indication of how vibrant its A flourishing city should offer those 04 Hamlet, Schaubühne Berlin 24 Ganesh Versus the Third Reich, 40 Jack Charles V The Crown, months to bring together the most contemporary theatre scene is. There who live, work and visit it meaningful Bord Gáis Energy Theatre Back to Back Theatre ILBIJERRI Theatre Company exciting, engaging and diverse is another Australian production in cultural experiences and I want our OReilly Theatre, Belvedere Samuel Beckett Theatre productions for this 55th festival our ever popular Family Season, festival to be a key ingredient in what 06 Vardo, ANU Productions Oonagh Young Gallery Adishatz / Adieu, 42 Book Burning, programme.
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Theatre Forum Annual Conference 12Th & 13Th June 2008
Is it worth it? Theatre Forum Annual Conference 12th & 13th June 2008 Theatre Curator Forum note The annual Theatre Forum conference is a great Theatre Forum is the representative association for opportunity to ask questions in a situation where the performing arts in Ireland. Membership includes there are lots of people gathered to offer answers. all the theatres and arts centres around the country; So why not ask a big question? We’ve all felt it professional theatre, dance and opera production at some time. Disillusionment, doubt, frustration, companies; and the main arts festivals. those low ebbs when the question ‘is it worth it?’ lurks in one’s mind. Theatre Forum acts as a voice for the performing arts community to government, state and semi- ‘Is it worth it?’ can carry many different meanings state agencies and elected representatives. of course, from the philosophical question ‘is art worth it?’, through the political question ‘is theatre The organisation also organises training and worth State support?’, to the practitioner’s personal professional development courses and seminars. questions ‘is it worth the grief, the sacrifice, and Its website www.theatreforumireland.com is an the emotional roller-coaster ride?’, and ‘is it worth invaluable resource containing factsheets and model slogging through the failures and the hum-drum to contracts, an opening night clash diary, an industry achieve the often elusive successes?’ employment page, a barter page, members' notice board and much more. This year’s conference offers a series of different ways to approach these questions, allowing members to engage with their own experience of enthusiasm and disillusionment, passion and despair, the see-saw of positive and negative For further information: feelings involved in working in the performing arts.
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A Word from the Societies Officer
A Word from the Societies Officer It has been an extraordinary year for societies in NUI Galway, a year which reinforces the view that the societies are at the very heart of the cultural and social life of the campus. With over 7000 students signing on to societies during both societies days this year, their can be no doubt about their continuing popularity. With a turn-over of over €600,000 this year their range and level of activity can not be in question. When you consider that over €150,000 of this was donated to charity the generosity and altruism of the society individuals is a shining example to all of us. It has been a pleasure facilitating and supporting the societies in their unbelievably diverse range of activities. This year our aim was to improve societies’ infrastructures and facilities, to this end workshops for the various committee members were organised. The success of the societies organisational, record keeping and book keeping skills is clearly evident in this publication. In the following pages you will uncover, in the societies own words, the fascinating and diverse range of activities they engaged in and also the immense sense of pride and joy they have in their achievements. The purpose of this book is not only to celebrate the year that the societies have had and to keep a record for future years but also to acknowledge the hard work, imagination, determination and creativity of the dedicated committee members. Congratulations to all of you. This year saw a number of reunions. It was obvious from the alumni that the years spent in societies, while in university, enriched their experiences and forged life long friendships.
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Clive Geraghty
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The College News, 1932-11-30, Vol. 19, No. 06 (Bryn Mawr, PA: Bryn Mawr College, 1932)
Bryn Mawr College Scholarship, Research, and Creative Work at Bryn Mawr College Bryn Mawr College Publications, Special Bryn Mawr College News Collections, Digitized Books 1932 The olC lege News, 1932-11-30, Vol. 19, No. 06 Students of Bryn Mawr College Let us know how access to this document benefits ouy . Follow this and additional works at: http://repository.brynmawr.edu/bmc_collegenews Custom Citation Students of Bryn Mawr College, The College News, 1932-11-30, Vol. 19, No. 06 (Bryn Mawr, PA: Bryn Mawr College, 1932). This paper is posted at Scholarship, Research, and Creative Work at Bryn Mawr College. http://repository.brynmawr.edu/bmc_collegenews/455 For more information, please contact [email protected]. , . , . \ l =====================================-.==================== ' . VOL. XIX, No. 6 BRYN MAWR AND WAYNE, PA., WEDNESDAY, NOVEMBER 30,1932 PRICI! 10 The College CENTS • 1932 Varsity Hockey Old c;:Ioth.. Saint's Dar P�nted CALENDAR Dr.Vaughan Williams S arized All atudentl are earne.tty re- Players' Second i Wed., Nov. BOo-Mias Helen Season • A Long Gives Final Lectures umm quested to rem�be!" the Thrift as ' Ghapin will speak on . -- [maget in tile Shop of the BFyn Mawr HOI- ! /low of Bl,ddlLi,t - �earn Showed Marked improve Play Designed to be.-Scurrilous o.t Pekixg. Compote" Should Follow Na pital when disposing 01 old Palace llIu3e1(n� With• ment in Co-OperatiOll In clothes, furniture, and such ar- • With Sacrifice of His- "lidea. In Goodhart. tional Model. Rather Than ' . Last ·Few Games . ticlca. The Shop, which I, run torical Accura Sat., Dee, S-H Paul Bu.- ' For<ign One.
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Cultural Convergence the Dublin Gate Theatre, 1928–1960
Cultural Convergence The Dublin Gate Theatre, 1928–1960 Edited by Ondřej Pilný · Ruud van den Beuken · Ian R. Walsh Cultural Convergence “This well-organised volume makes a notable contribution to our understanding of Irish theatre studies and Irish modernist studies more broadly. The essays are written by a diverse range of leading scholars who outline the outstanding cultural importance of the Dublin Gate Theatre, both in terms of its national signiﬁcance and in terms of its function as a hub of international engagement.” —Professor James Moran, University of Nottingham, UK “The consistently outstanding contributions to this illuminating and cohesive collection demonstrate that, for Gate Theatre founders Hilton Edwards and Micheál mac Liammóir and their collaborators, the limits of the imagination lay well beyond Ireland’s borders. Individually and collectively, the contribu- tors to this volume unravel the intricate connections, both personal and artistic, linking the theatre’s directors, designers, and practitioners to Britain, Europe, and beyond; they examine the development and staging of domestic plays written in either English or Irish; and they trace across national boundaries the complex textual and production history of foreign dramas performed in translation. In addition to examining a broad spectrum of intercultural and transnational inﬂu- ences and perspectives, these frequently groundbreaking essays also reveal the extent to which the early Gate Theatre was a cosmopolitan, progressive, and inclusive space that recognized and valued women’s voices and queer forms of expression.” —Professor José Lanters, University of Wisconsin—Milwaukee, USA “Cultural Convergence is a book for which we have been waiting, not just in Irish theatre history, but in Irish cultural studies more widely.
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DTF Brochure 2018
Principal Funder buy tickets online dublintheatrefestival.com Grant Aided by phone +353 1 677 8899 in person Dublin Theatre Festival Box Office, Festival House, 12 Essex Street East, Temple Bar, Dublin 2, D02 EH42 Opening hours Follow us for news, ticket Mon–Fri 10am–6pm competitions and special offers throughout the Accommodation Partner Media Partner Radio Partner Sat 10am–5pm festival. (22 Sept–13 Oct only) @DubTheatreFest Sun 12pm–3pm DublinTheatreFestival (30 Sept–14 Oct only) @dublintheatrefestival Broadcasting Partner Social Media Analysis Partner 24 July, 1pm Please note that our Box Priority booking opens Office and phone lines are for Friends of the Festival open at weekends only on 14 August, 10am the dates specified. Online Public booking opens by booking is available all day, phone, in person and online every day. — — Tickets for a selection Become a Friend of the of performances are Festival to avail of priority on public sale now at booking, no booking fees, dublintheatrefestival.com and discounted tickets — (see page 58). Tickets can also be — purchased at most Dublin Email boxoffice@ Theatre Festival venues or dublintheatrefestival.com on the door if available (see if you have any queries page 72). about your booking. welcome to contents Dublin Theatre Festival 2018 Whether this is your first time We are more outward looking as the theatre before. We’re here to 04 Hamlet 24 Company 44 Home Theatre (Ireland) seeing a festival show or you a country and beginning to take help you with questions about the Gate Theatre Company SJ Draíocht have been coming for years, better care of those who have programme, to give you practical Project Arts Centre (Space Upstairs) there’s something for you.
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History of the Irish National Theatre, 1899-1933
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2014, Annual Report
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2012, Annual Report
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