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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. My ambition for the presented in partnership with the makes Dublin a sociable and fun 26 Jonathan Capdevielle Pieter De Buysser and festival continues to be to provide Ark. I have also invited three shows place to be. In 2017 Dublin Theatre 08 Réiltín, Fíbín Teo. Project Arts Centre Hans Op de Beeck a platform to showcase Irish theatre from Belgium that combine theatre Festival will celebrate its 60th Abbey Theatre, (Space Upstairs) Project Arts Centre to the world and to stimulate artists with other art forms and illustrate anniversary. We strive to stay relevant on the Peacock Stage (Space Upstairs) and audiences by bringing excellent how interesting the results can be for our public and to play our part in 28 what happens to the hope international work to Dublin. when these meet and mix. As the making the city great. We welcome 10 If These Spasms Could Speak, at the end of the evening, 44 notallwhowanderarelost, festival continues to grow we present support to enable us to grow the Robert Softley / The Arches Tim Crouch and Andy Smith Benjamin Verdonck The festival is a time when theatre a celebrated production of Hamlet festival, so that we can be more Project Arts Centre (Cube) Abbey Theatre, on the Smock Alley Theatre, Black Box in Dublin should be at its best. In from the Schaubühne Berlin at the ambitious and reach more people. Peacock Stage this programme I aim to reflect the Zoo, Teatro de Chile 46 Spring Awakening, Bord Gáis Energy Theatre and have Each time you buy a ticket, tell a 12 quality and range of current Irish and Smock Alley Theatre, Black Box 30 Frequency 783, Brokentalkers Dublin Youth Theatre over ten world premiere productions friend about a show they should see, international theatre, to mix humour Project Arts Centre (Cube) axis:Ballymun from some of Ireland’s most highly- or join us as a member or sponsor, and seriousness and to present 14 A Girl is a Half-formed Thing, regarded theatre companies. you help us to reach that goal. intimate performances alongside The Corn Exchange 32 Spinning, Fishamble: 48 After Sarah Miles, Samuel Beckett Theatre The New Play Company Gallarus Productions large-scale work. I would like to show There’s no doubt that these are The eighteen days of the festival are Smock Alley Theatre, Main Space Festival on Tour how versatile an art form theatre is challenging times for Ireland as well the result of the collaboration of many 16 The Seagull and Other Birds, and how it continues to reveal and as for Irish theatre. What is heartening people over a long period of time. I Pan Pan Theatre 34 Our Few and Evil Days 50 Family Season shape our everyday experience. in such an environment is the would like to thank our funders, our Project Arts Centre by Mark O’Rowe resilience that our artists have shown sponsors, the staff and volunteers, (Space Upstairs) Abbey Theatre, on the 55 Festival+ I have conceived the festival so that and the continuing keenness of their and all the artists who have made Abbey Stage Programme of special events there are multiple possible routes vision. It is more difficult than it has something special together that you, 18 The Mariner by Hugo Hamilton through it and many different styles been for some time to make theatre the audience, will enjoy. Gate Theatre 36 Perhaps all the dragons, 65 Become a Friend of work on offer. Depending on but the talent and resourcefulness BERLIN of the Festival your interests, it’s possible to see French Artist Robert Filiou said “Art Hello my name is, Smock Alley Theatre, of generations of Irish theatre 20 anything from one to more than is what makes life more interesting Nicola Gunn / SANS Hotel Banquet Hall 69 Visitor information practitioners shines through in 20 different productions. One of than art” and I hope that this is how Smock Alley Theatre, the 2014 festival programme. the enjoyable things about the you will feel when you leave the Banquet Hall 38 Paul Bright’s Confessions 74 Festival schedule at a glance programme is to find connections Culture matters. It’s what makes performances you see this year. of a Justified Sinner, Brigit & Bailegangaire, Druid Untitled Projects 76 Booking information between works – both intentional us a society. Theatre gives people 22 Welcome to the festival. The Olympia Theatre Abbey Theatre, on the and unexpected – so that the more an opportunity to come together – Peacock Stage you see the richer your experience as an audience, to think, and later will be. This year, I have selected to talk about the things that are Willie White three productions from Australia that important to them. Artistic Director and Chief Executive www.dublintheatrefestival.com Schaubühne04 this mind-blowing, spit- reach beyond your 04-05 Berlin, Germany hurling, earth-moving expectations and encounter evening... is about what a work which is dynamic theatre can do. and utterly enthralling. The Guardian Australian Stage Hamlet by William Shakespeare Hamlet explodes onto the stage of the Bord Gáis Energy Directed by Thomas Ostermeier Theatre as one of the world’s great theatre houses, Berlin’s Translation and Dramaturgy: Marius von Mayenburg Schaubühne, makes its long-awaited return to the festival Cast: Robert Beyer, Lars Eidinger, following the sold-out run of Hedda Gabler in 2006. Franz Hartwig, Urs Jucker, Jenny König, Sebastian Schwarz Hamlet stands on the brink of emotional decay. The last Stage Design: Jan Pappelbaum Costume Design: Nina Wetzel person with scruples in a system with none, he struggles to Music: Nils Ostendorf maintain his grip on the paranoia and indecision that threaten Video: Sébastien Dupouey to tip him over the edge. Mud-soaked and dangerous, Lighting Design: Erich Schneider Fight Choreography: René Lay spurred on by night-time visions and desperate for revenge, – he forces the world to its knees. Venue: Bord Gáis Energy Theatre Dates: Sept 25 – 27, 7.30pm On a spectacular stage covered in earth, blood and water, Tickets: €15 – €40 Duration: 2 hrs 45 mins. No interval, Thomas Ostermeier’s thrilling production cracks with energy, however re-admittance will be immediacy and raw physicality. Six remarkable actors play permitted throughout the performance. 20 characters in Denmark’s corrupt court, breathing new – Talking Theatre: life into this classic Shakespearean story of politics, passion, Sept 26, post-show. murder and betrayal. With members of the company. Performed in German with English surtitles. Contains loud, sudden noises. Co-production: Hellenic Festival Athens and Festival d’Avignon. With the support of Proudly supported by Photo © Arno Declair www.dublintheatrefestival.com www.dublintheatrefestival.com 06-0706 ANU Productions, The continuing Monto Cycle is brutal, 06-07 Ireland confrontational and deeply uncomfortable but also brave, serious and superbly done, making for some of the best site-specific theatre anywhere in the world. The Irish Times Vardo Directed by Louise Lowe Vardo is the final part of ANU Productions’ multi award- Visual Artist: Owen Boss winning Monto Cycle (World’s End Lane, Laundry and – Venue: Oonagh Young Gallery The Boys of Foley Street), which spans the last one Previews: Sept 23 & 24 hundred years of history in Dublin. Dates: Sept 25 – Oct 12, every half hour from 3pm – 6pm & 7pm – 9.30pm Operating 24 hours a day and barely hidden beneath the (No performances on Mondays) Tickets: €15 – €20 city’s surface, an army of undocumented workers fuel a Duration: Approx. 60 mins. No interval. thriving invisible economy. They are transient, they are – temporary, they are traffic. Real names and identities are NOW-THEN-NOW: Witnessing Future History hidden and what we see is not necessarily what we get. Oct 7 & 8: A conference inspired by the work of ANU Productions, A boundary-pushing, site-specific work, Vardo will presented in partnership with Create. take audiences on a stimulating and intimate journey For details see page 59. to explore first-hand the present day underworld of Dublin’s north inner city. Contains strong language and material that some may find disturbing.
Recommended publications
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  • Cultural Convergence the Dublin Gate Theatre, 1928–1960

    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.
  • DTF Brochure 2018

    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.
  • 3500 a Short Story

    3500 a Short Story

    A Short Story n 1662, James Ogilby traveled to England to take tea with the recently restored to the throne - King Charles II. James returned to Ireland as Master of The Revels with the permission of I¢ The King to raise 4500 pounds sterling to build Dublin’s first theatre of 1662. g e raised the money by asking the citizens of the day to support his vision to build Dublin, HIreland and the world a playhouse that they could be proud of. Smock Alley Theatre gave the world the plays of George Farquhar (The Recruiting Officer), Oliver Goldsmith (She Stoops To Conquer) and Richard Brinsley Sheridan (The Rivals). 800 people attended the theatre each night, seven days a week. Indeed there were queues down the street and up past Fishamble Street when the greatest actor of his generation, David Garrick played Hamlet in the very first production of Shakespeare’s classic play in Ireland. 0 years later we have done it again! We asked the citizens to help us to reinstate 350 this historic theatre for Dublin, Ireland and the world, and in February 2012 we opened the doors once again. Philanthropists and Government, small donations and large have enabled us to bring this extraordinary playhouse back to life. Although we aren’t allowed to get 800 people in per night we are looking forward to becoming Dublin’s newest (most comfortable) oldest theatre. We need your support for our work, which includes the recently established Smock Alley Players. Please join with us into the future: Make a philanthropic donation or become a Friend of Smock Alley Theatre-1662.