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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. -
Cois Coiribe 2016
COIRIBE COIS Rio The Magazine for GOLD NUI Galway Galway 2020 MedTech in Galway A Changing Campus Alumni & Friends Autumn 2016 NUI Galway Affinity Card. You get, we give. You get a unique credit card and we give back to NUI Galway when you register and each year your Affinity card is active. Our introductory offer gives you a competitive rate of 2.9%¹ APR interest on balance transfers for first 12 months. bankofireland.com/alumni 1890 365 100 Lending criteria terms and conditions apply to all credit cards. Credit cards are liable to Government Stamp Duty of €30. Credit cannot be offered to anyone under 18 years of age. Bank of Ireland is regulated by the Central Bank of Ireland. ¹Available if you don’t currently hold a credit card with Bank of Ireland, whether you have an account with us or not. At the end of the introductory period the annual interest rates revert back to 2 COIS COIRIBEthe standard rate applicable to your card at that time. OMI008172 - NUIG Affinity A4_Portrait Ad_v13.indd 1 03/08/2016 12:35 NUI Galway CONTENTS 2 FOCAL ÓN UACHTARÁN NEWS Affinity Card. 4 The Year in Pictures 6 Research Round-up 10 University News You get, we give. 14 Campus News 26 Student Success FEATURES 16 A New Direction for Sport 22 1916 – Centenary Year 4 24 NASA Mission 28 A Changing Campus - Capital Development 32 Giving Stem Cells a heartbeat 34 MedTech in Galway 24 41 TG4 @ 20 42 Galway 2020 GRADUATES 36 Aoibheann McNamara 37 Paul O’Hara 38 Grads in Silicon Valley 44 Graduations GALWAY UNIVERSITY FOUNDATION 46 Empowering Excellence ALUMNI 6 18 50 Alumni Awards 38 52 Alumni Events 56 Class Notes 64 Obituaries CONTRIBUTORS Jo Lavelle, John Fallon, Ronan McGreevy, Joyce McCreevy, Joe Connolly, Dónall Ó Braonáin, Conor McNamara, Liz McConnell, Ruth Hynes, Sheila Gorham. -
Negotiating Ireland – Some Notes for Interns
Welcome to Ireland – General Notes for Interns (2015 – will be updated for 2016 in January 2016) Fergus Ryan These notes are designed to introduce you to Ireland and to address any questions you might have concerning practical aspects about your visit to Ireland. About Ireland Ireland is an island on the north- financial services. The official west coast of Europe, with a languages are English and Irish. population of approximately 6.3 While English is the main language million inhabitants. It is of communication, Irish is spoken on approximately 32,600 square miles, a daily basis in some parts of the 300 miles from the northern most west, while over half a million tip to the most southern, and inhabitants speak a language other approximately 175 miles across, than English or Irish at home. making it just a little under half the (Sources: CSO Census 2011, size of Oklahoma State. www.cso.ie) Politically, the island comprises two Northern Ireland comprises six legal entities. The Republic of counties in the northeast corner of Ireland, with 4.6 million the island. A jurisdiction within the inhabitants, makes up the bulk of the United Kingdom, it has just over 1.8 island. The State attained million people. It has its own power- independence from the UK in 1922, sharing parliament and government and became a Republic in 1949. The with significant devolved powers Republic of Ireland is a sovereign, and functions. Its capital and largest democratic republic, with its current city is Belfast. Northern Ireland is Constitution dating back to 1937. It politically divided along religious is a member of the European Union lines: 48% of those in Northern and the Council of Europe, but is Ireland are Protestant or were militarily non-aligned. -
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. -
The Generosity of Our Donors Has Changed Thousands of Lives Across the Island of Ireland and Around the World
thank you The generosity of our donors has changed thousands of lives across the island of Ireland and around the world. The Ireland Funds has never wavered in its commitment and core mission: to deliver private philanthropy support to worthy causes that promote peace and reconciliation, arts and culture, education and community development. On behalf of the organizations doing extraordinary work, we thank you. connect 2017 • 6 “Co-operation Ireland is committed to peace-building on the island of Ireland and we will continue to deliver innovative programs which challenge people’s thinking and attitudes. Support we receive from The Ireland Funds highlights what can be achieved with funding that allows for more creativity and input from the people the programs aim to help.” — CO-OPERATION IRELAND “The Ireland Funds have been huge to our charity. We wouldn’t be here today if it wasn’t for The Ireland Funds. In those early years the funding was so critical because when we started there was nothing else coming in. It’s been a great relationship.” — IRISH DOGS FOR THE DISABLED Impact Report “Historically, there hasn’t been a tradition of private philanthropy in Ireland. But it’s organizations like The Ireland Funds that have taken the lead. Their role has been absolutely vital to philanthropy here.” — THE LITTLE MUSEUM OF DUBLIN “Our work is pioneering and without The Ireland Funds’ support we would not be able to deliver this. Support from The Ireland Funds is helping us to change the lives of these young people in Northern Ireland.” — THE PLAYHOUSE connect 2017 • 7 BELOW IS A SAMPLE OF THE OVER 3,000 OUTSTANDING ORGANIZATIONS YOUR GENEROSITY HAS ASSISTED. -
Annual Conference Attendance List Key: F = Full Member, I = Individual Member; a = Affiliate Member; NM = Non Member
Annual Conference Attendance list Key: F = Full member, I = Individual member; A = Affiliate member; NM = Non Member # Name Surname Title Organisation Mem 1 Aideen Howard Literary Director Abbey Theatre F 2 Declan Cantwell Director of Finance & Administration Abbey Theatre F 3 Fiach Mac Conghail Director Abbey Theatre F 4 Catherine Carey Director of Public Affairs Abbey Theatre F 5 Barry McKinney General Manager An Tain F 6 Laura Condon Administrator Andrew's Lane Theatre F 7 Mary McVey Andrew's Lane Theatre F 8 Graham Main Festival Manager Anna Livia Dublin Opera Festival F 9 Margaux Nissen Gray Liaison Manager Anna Livia Dublin Opera Festival F 10 Pádraig Naughton Director Arts & Disability Ireland F 11 John McArdle Artistic Director Artswell F 12 Colm Croffy Operations Director Association of Irish Festival Events F 13 Mark O'Brien Local Arts Development Officer axis arts centre Ballymun F 14 Lali Morris Programme Director Baboró Arts Festival for Children F 15 Mona Considine General Manager Backstage Theatre F 16 Anne Maher Managing Director Ballet Ireland F 17 Jenny Walsh Bassett Artistic Director Banner Theatre Company NM 18 Tríona NíDhuibhir General Manager Barabbas F 19 Vincent Dempsey General Manager Barnstorm Theatre Company F 20 Philip Hardy Artistic Director Barnstorm Theatre Company F 21 Frances O'Connor Company Administrator Barnstorm Theatre Company F 22 Peter McNamara Chief Executive Belltable Arts Centre F 23 Karl Wallace Artistic Director Belltable Arts Centre F 24 Alistair Armit Sales Engineer Blackbaud Europe NM 25 -
Boland Journey of a Poet Show Programme
BACK TO CONTENTS BOLAND: JOURNEY OF A POET WORDS BY Eavan Boland EDITED BY Colm Tóibín DIRECTED BY Garry Hynes PERFORMED BY Siobhán Cullen 1 BACK TO CONTENTS BACK TO CONTENTS BACK TO CONTENTS Contents Cast and Creatives 5 Finding a voice ... 6 When Silence Is Broken 8 Eavan Boland 12 Production Team 14 Thank You 15 Biographies 17 Druid Staff 28 Druid Supporters 29 Druid Friends 30 Become a Friend 31 Rehearsal Photograph: Emilija Jefremova 2 3 BACK TO CONTENTS BACK TO CONTENTS BACK TO CONTENTS CAST AND CREATIVES BOLAND: JOURNEY OF A POET A Druid at Home production LIVE STREAM PERFORMANCES 22 – 24 APRIL 2021 AVAILABLE ON DEMAND 27 APRIL – 2 MAY 2021 WORDS BY Eavan Boland EDITED BY Colm Tóibín DIRECTED BY Garry Hynes PERFORMED BY Siobhán Cullen DIRECTOR OF PHOTOGRAPHY Colm Hogan SET DESIGNER Francis O’Connor COSTUME DESIGNER Clíodhna Hallissey SOUND DESIGNER Sinéad Diskin COMPOSER Conor Linehan PORTRAIT ARTIST Debbie Chapman DURATION 60 minutes approximately with no interval JOIN THE CONVERSATION @DruidTheatre #BolandJourneyOfAPoet #DruidAtHome Rehearsal Photograph: Emilija Jefremova 4 5 BACK TO CONTENTS PROGRAMME NOTE PROGRAMME NOTE Much later, when I was preparing my Inaugural Address as ‘Finding a voice where President, I told Eavan I wanted to refer to women who had been outside history – a phrase we had both discussed together. She they found a vision’ gave me the lovely last line, from ‘The Singers’, which she was still working on: ‘Finding a voice where they found a vision’. I am delighted that Druid is presenting Boland: Journey of a Poet. Eavan had a great gift for friendship and I was lucky I visited Eavan several times in Stanford and came to know how enough to become a close friend when we were students loved and respected she was there. -
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
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. -
Interchapter Ii: 1940–1969
INTERCHAPTER II: 1940–1969 Melissa Sihra Lady Augusta Gregory died in 1932 and from that period the Abbey Theatre consisted of an all-male directorate – Yeats, Kevin O’Higgins, Ernest Blythe, Brinsley MacNamara, Lennox Robinson and Walter Starkie. Blythe, an Irish-language revivalist and politician, would now remain on the inside of the Abbey for many years to come. Issues of artistic policy remained primarily within Yeats’s domain, but with his death in 1939 the position of power was open and Blythe took over as Managing Director in 1941, remaining in that post until 1967. Earnán de Blaghd, as he preferred to be known, espoused a conser- vative ethos and the board as a whole was highly restrictive artist- ically. While the work of a significant number of women dramat- ists was produced during these decades (see Appendix pp. 223–4), this period in the Abbey’s history is associated predominantly ‘with kitchen farce, unspeakably bad Gaelic pantomimes, compulsory Irish and insensitive bureaucracy’.1 The move from the 1930s into the 1940s saw the consolidation of Éamon De Valera’s Fianna Fáil administra- tion. Bunreacht na hÉireann (The Irish Constitution) was established in 1937, the same year that Samuel Beckett moved to Paris. During this time women activists sought political representation and equal rights as citizens of the Irish Free State, particularly with regard to the 1932 marriage bar. In 1938 Hannah Sheehy-Skeffington, a prolific feminist campaigner and member of the Women’s Graduates’ Associ- ation, argued that the constitution was based on ‘a fascist model, in which women would be relegated to permanent inferiority, their avoca- tions and choice of callings limited because of an implied invalidism as the weaker sex’.2 A fully independent Republic of Ireland came into being in 1949, in a decade that was framed by De Valera’s patriotic speech: ‘The Ireland that we dreamed of’. -
Deirdre Kinahan Louise Lowe Marie Mullen Brian Gleeson
LANDMARK PRODUCTIONS BY DEIRDRE KINAHAN DIRECTED BY LOUISE LOWE STARRING MARIE MULLEN AND BRIAN GLEESON WORLD PREMIERE BY DEIRDRE KINAHAN DIRECTOR LOUISE LOWE COMPOSER CONOR MITCHELL COSTUME DESIGNER JOAN O’CLERY LIGHTING DESIGNER MARY TUMELTY SOUND DESIGNER CAMERON MACAULAY BROADCAST LIVE FROM THE EVERYMAN THEATRE AS PART OF CORK MIDSUMMER FESTIVAL SATURDAY 19 JUNE 2021, 3PM AND 8PM SUNDAY 20 JUNE 2021, 8PM ON DEMAND 21–27 JUNE Marie Mullen in rehearsal. Photo: Barry Cronin 2 3 CONTENTS LANDMARK PRODUCTIONS Landmark Productions is one of work – plays, operas and musicals Ireland’s leading theatre producers. – in theatres ranging from the 66- It produces wide-ranging work in seat New Theatre to the 1,254- PAGE 5 LANDMARK PRODUCTIONS Ireland, and shares that work with seat Olympia. It co-produces international audiences. regularly with a number of partners, including, most significantly, Galway PAGE 6 THE SACRED TRUTH In January 2021 it launched Landmark International Arts Festival and Live, a new online streaming platform Irish National Opera. Its 21 world OF MÁIRE SULLIVAN to enable the company to bring the premieres include new plays by major thrill of live theatre to audiences Irish writers such as Enda Walsh and around the world. Mark O’Rowe, featuring a roll-call of PAGE 9 CAST / CREATIVES Ireland’s finest actors, directors and Deirdre Kinahan’s The Saviour is the designers. fourth production to be streamed to PAGE 26 LANDMARK LIVE date. In August, Landmark, in a co- Numerous awards include the production with Galway International Judges’ Special Award at The Irish Arts Festival, will present the world Times Irish Theatre Awards, in premiere of a new play by Enda Walsh, recognition of ‘sustained excellence PAGE 28 THANK YOUS / FUNDING Medicine, as part of the Edinburgh in programming and for developing International Festival. -
6 X 10.5 Long Title.P65
Cambridge University Press 978-0-521-66686-2 - The Cambridge Companion to Brian Friel Edited by Anthony Roche Frontmatter More information The Cambridge Companion to Brian Friel Brian Friel is widely recognized as Ireland’s greatest living playwright, win- ning an international reputation through such acclaimed works as Transla- tions (1980) and Dancing at Lughnasa (1990). This collection of specially commissioned essays includes contributions from leading commentators on Friel’s work (including two fellow playwrights) and explores the entire range of his career from his 1964 breakthrough with Philadelphia, Here I Come! to his most recent success in Dublin and London with The Home Place (2005). The essays approach Friel’s plays both as literary texts and as performed drama, and provide the perfect introduction for students of both English and Theatre Studies, as well as theatregoers. The collection considers Friel’s lesser-known works alongside his more celebrated plays and provides a comprehensive crit- ical survey of his career. This is the most up-to-date study of Friel’s work to be published, and includes a chronology and further reading suggestions. anthony roche is Senior Lecturer in English and Drama at University College Dublin. He is the author of Contemporary Irish Drama: From Beckett to McGuinness (1994). © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-66686-2 - The Cambridge Companion to Brian Friel Edited by Anthony Roche Frontmatter More information THE CAMBRIDGE COMPANION TO BRIAN FRIEL