Faith Healer by Brian Friel

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The Lyceum Theatre, Edinburgh presents Faith Healer by Brian Friel Directed by John Dove 14 January – 7 February 2015 Press Night is Saturday 17th January at 7.30pm “The Fantastic Francis Hardy, Faith Healer: One Night Only” The lame, the ill and the broken-hearted all gather for the Fantastic Francis Hardy: Faith Healer. Travelling with his two companions, Grace and Teddy, Frank roams the small towns of Scotland and Wales healing the sick, trying to find a way home. These are their stories – haunting, tender, funny and passionate, taking us to the heart of what it means to love and to believe. One of Ireland’s greatest playwrights, Brian Friel is best known for his works Philadelphia Here I Come!, Translations and Dancing at Lughnasa. Faith Healer is Friel’s masterpiece, defining his uniquely poetic and intensely human voice: it is a landmark play in the rich landscape of Irish theatre. The creative team are director John Dove, designer Michael Taylor(Kill Johnny Glendenning) and lighting designer Tim Mascall (Kill Johnny Glendenning, Long Days Journey Into Night ). The composer is Lyceum Visiting Artist Claire McKenzie who provided the score for A Christmas Carol and The BFG. The cast are Sean O'Callaghan as Frank, Niamh McCann as his mistress Grace and Patrick Driver as his manager Teddy. John Dove is Associate Artist at The Lyceum, most recently directing the widely acclaimed Pressure by David Haig. John has previously directed Living Quarters by Brian Friel for The Lyceum. For more information, interviews, images or ticket requests, please contact Michelle Mangan, Press and PR Manager at The Lyceum: [email protected] or 0131 248 4822 ENDS> NOTES TO EDITORS PERFORMANCES AND PRICES Dates: 14 January – 7 February 2015 Tickets: Evenings: Tuesday through Saturday, 7.30pm £15 - £29* Matinees: Wednesday and Saturday, 2pm £12.50 - £24* For tickets phone 0131 248 4848 or book online at www.lyceum.org.uk ACCESSIBLE PERFORMANCES Audio Described Thursday 29 January, 7.30pm (Touch Tour 6.15pm) Saturday 31 January, 2pm (Touch Tour 12.45pm) Captioned Saturday 7 February, 2pm BSL Interpreted Wednesday 4 February, 7.30pm Post Show Discussion Tuesday 27 January FREE! No ticket required The Royal Lyceum Theatre Company, or the Lyceum as it is fondly known, is one of Scotland’s leading producing drama companies. Established in 1965 it has gained a reputation for excellence in both classical and contemporary work. It is committed to developing the country’s considerable indigenous talents while presenting the best of international drama to the public. The Lyceum aims to reach a wide audience, whatever their age or experience of theatre going, and to enable them to access the richly imaginative world of drama. The Lyceum Theatre Company has worked with co- producers across the country including The Bush, London, the Citizens Theatre, Glasgow, National Theatre of Scotland, Belgrade Theatre, Coventry, Nottingham Playhouse, Horsecross Arts, Vanishing Point Theatre Company, Stellar Quines, Dundee Rep Theatre , Vox Motus and Chichester Festival Theatre. .

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Dancing at Lughnasa
Dancing at Lughnasa Faber & Faber, 2011 // Brian Friel // Dancing at Lughnasa // 2011 // 0571288960, 9780571288960 // 80 pages // It is 1936 and harvest time in County Donegal. In a house just outside the village of Ballybeg live the five Mundy sisters, barely making ends meet, their ages ranging from twenty-six up to forty. The two male members of the household are brother Jack, a missionary priest, repatriated from Africa by his superiors after 25 years, and the seven-year-old child of the youngest sister. In depicting two days in the life of this menage, Brian Friel evokes not simply the interior landscape of a group of human beings trapped in their domestic situation, but the wider landscape, interior and exterior, Christian and pagan, of which they are a part. file download hecocam.pdf Brian Friel: Collected Plays - Volume 2 // This second collection of Brian Friel's work contains: The Freedom of the City (1973) Volunteers (1975) Living Quarters (1977) Aristocrats (1979) (March) Faith Healer (1979 // Drama // The Freedom of the City; Volunteers; Living Quarters; Aristocrats; Faith Healer; Translations // Jul 7, 2016 // ISBN:9780571331857 // Brian Friel // 123 pages Dancing at Lughnasa download English drama // The Freedom of the City // "Set in Londonderry in 1970, this gripping drama is by the acclaimed author of Faith Healer and Translations, explores the ongoing Irish "troubles" that plague the country to // 1974 // A Play in Two Acts // Brian Friel // 82 pages // ISBN:0573609152 Dancing English drama // Living Quarters // Brian Friel // 91 pages // ISBN:0573619107 // Jan 1, 1978 Henrik Ibsen's Hedda Gabler // 2009 // Drama // In a New Version // 80 pages // THE STORY: Hedda Gabler returns, dissatisfied, from a long honeymoon.
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Faith Healer
Faith Healer Robert Tracy What is Hell? Hell is oneself, Hell is alone, the other figures in it Merely projections. T. S. Eliot, The Cocktail Party Abstract: This essay discusses the balance between theatricality and anti- theatricality in Faith Healer, by Brian Friel, and argues that the play draws inspiration from drama as ritual and from medieval and mystery plays. Faith Healer is at once a profoundly theatrical and a deliberately anti-theatrical play. It is theatrical because it is essentially and self-consciously about theatrical action, performance. At the same time, Friel thwarts our expectations as theater-goers by never showing us any of the dramatic events that shaped the lives of Frank, Grace, and Teddy, his three characters. Frank, the Faith Healer, requires a theatre and an audience for his acts of healing. Teddy is his manager, a man of the theater, who hires a church or a chapel or a parish hall for each evening’s performance. Grace, Frank’s wife, sets up a table near the door and collects money before or after the performance. Teddy is responsible for lighting and for playing a recording of Fred Astaire singing Jerome Kern’s “The Way You Look Tonight” at the beginning of each performance as a way of relaxing the audience, letting them know that the performance is beginning, and perhaps as an ironic commentary on the lame, the halt, and the blind who comprise the audience. When Friel’s play begins, fifteen chairs are arranged in three rows at stage right, suggesting that the real audience assembled in a theatre for Friel’s play might be joined by an audience of Welsh or Scottish villagers hoping – or fearing – to experience a miracle.
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FAITH HEALER Written by Brian Friel Directed by Ron Sossi
FAITH HEALER Written by Brian Friel Directed by Ron Sossi STARRING Ron Bottitta, Diana Cignoni, Paul Norwood SCENIC & PROP DESIGNER COSTUME DESIGNER LIGHTING DESIGNER Stephanie Kerley Schwartz Denise Blasor Rose Malone SOUND DESIGNER STAGE MANAGER ASSISTANT DIRECTOR Christopher Moscatiello Owen Panno Anna Mader Faith Healer runs from March 23 through May 12, 2019 Faith Healer is presented through special arrangement with Samuel French, Inc. The Odyssey is supported in part by a grant from the City of Los Angeles, Department of Cultural Affairs, and Los Angeles County Arts Commission The video and/or audio recording of this performance by any means whatsoever is strictly prohibited. ODYSSEY THEATRE ENSEMBLE: 2055 South Sepulveda Blvd., Los Angeles, CA 90025 Administration and Box Office: 310-477-2055 ext 2 FAX: 310-444-0455 [email protected] www.odysseytheatre.com CAST (listed in order of appearance Frank ............................................................................Paul Norwood Grace .......................................................................... Diana Cignoni Teddy ............................................................................... Ron Bottitta Setting: Various locations in Wales, Scotland, England and Ireland Time: 1970's Play running time is approximately two hours and ten minutes. There will be one fifteen-minute intermission. A NOTE FROM THE DIRECTOR To celebrate our 50th anniversary, beginning in June of this year, we’ll be producing and presenting a retrospec- tive season of plays that were seminal at the time we began the Odyssey Theatre In 1969. Look for names like Sam Shepard, Maria Irene Fornes, La Mama, Jean-Claude Van Italie, Joe Chaikin, Peter Brook, David Rabe, The Open Theatre, Peter Nichols, Joe Orton, Leroi Jones, Anthol Fugard, Peter Weiss and numerous others to be explored in the course of a massive eighteen-month season.
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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
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Dancing at Lughnasa, Dublin and New York
Provided by the author(s) and NUI Galway in accordance with publisher policies. Please cite the published version when available. Title Dancing on a one-way street: Irish reactions to Dancing at Lughnasa in New York Author(s) Lonergan, Patrick Publication Date 2009 Lonergan, Patrick. (2009). Dancing on a One-Way Street: Irish Publication Reactions to Dancing at Lughnasa in New York In John P. Information Harrington (Ed.), Irish theater in America : essays on Irish theatrical diaspora New York: Syracuse University Press. Publisher Syracuse University Press Link to publisher's http://www.syracuseuniversitypress.syr.edu/ version Item record http://hdl.handle.net/10379/6789 Downloaded 2021-09-27T12:30:41Z Some rights reserved. For more information, please see the item record link above. 1 Dancing on a One-Way Street: Irish Reactions to Dancing at Lughnasa in New York Brian Friel’s Dancing at Lughnasa is an important example of the inter-relationship of American and Irish theatre, particularly since 1990. Its script draws heavily on American culture, bringing us songs by Cole Porter and an approach to the narration of remembered events that is highly reminiscent of the work of Tennessee Williams. And its production was one of the first of many Irish successes on the New York stage from the 1990s onwards, being followed by productions of plays by Martin McDonagh, Conor McPherson and indeed by Brian Friel himself, whose Faith Healer was a critical and commercial success on Broadway in 2006. Dancing at Lughnasa premiered on 24 April 1990 at the Abbey Theatre, where it was directed by Patrick Mason.
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Instead of an Obituary. Brian Friel's Silent Voices. Memory And
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Irish Tradition Or Postdramatic Innovation? Storytelling in Contemporary Irish Plays
ZAA 52.3 (2004): 243-256 © JÜRGEN WEHRMANN Irish Tradition or Postdramatic Innovation? Storytelling in Contemporary Irish Plays Abstract: Storytelling in Irish drama has traditionally been perceived as evidence for a continuity between Irish theatre and a pre-modern, distinctly Irish oral culture. Hans- Thies Lehmann’s theory of Postdramatic Theatre, however, allows one to describe the exhibition of the act of narration in contemporary Irish plays as a break with both Epic Theatre and the drama of the Irish Literary Revival. In contrast with the alien- ation effects of Epic Theatre, contemporary Irish theatre texts create intense relation- ships between narrator and story on the one hand and between narrator and audience on the other. Yet the acts of narration also differ from those in the drama of the Irish Literary Revival in that oral storytelling takes the form of intimate confessions and focusses not on collective but individual memory. At the same time, the Irish example casts a critical light on some of Lehmann’s concepts, particularly the avant-garde charac- ter of the so-called ‘post-epic’ narration and its inherent criticism of the mass media. 1. The Irish Dramatic Tradition and Hans-Thies Lehmann’s Theory of Post- dramatic Theatre One of the most interesting formal tendencies in contemporary Irish theatre is the exhibition of the act of narration in numerous plays since the 1970s. Plays like Tom Murphy’s Bailegangaire (1985) only show characters telling each other sto- ries and commenting on them. In Brian Friel’s Faith Healer (1979) and Molly Sweeney (1994), in Mark O’Rowe’s Howie the Rookie (1999) and in most of Conor McPherson’s and Donal O’Kelly’s plays, the narrators directly address the audience so that there is no ‘inner’ communication system and no scenic ac- tion whatsoever apart from the act of narration.
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Translations
STUDY GUIDE for Students and Educators TRANSLATIONS Researched and designed by the Production Dates: Education Department at Milwaukee Reper- January 10—February 10, 2007 tory Theater, this study guide is intended to prepare you for your visit to the theater. It contains biographical and production informa- tion that will aid your understanding and ap- Written by: Brian Friel preciation of the production. We’ve also in- Directed by: Ben Barnes cluded questions and activities for you to ex- plore before and after our performance of Programs in the Education Department receive generous funding from: Translations Einhorn Family Foundation GE Healthcare If you would like to schedule a classroom Halbert and Alice Kadish Foundation workshop, or if we can help in some other way, please contact (414) 290-5370 or Harley Davidson [email protected] Milwaukee Arts Board Richard and Ethel Herzfeld Foundation Study Guide written by Rockwell Automation Dena Roncone, Education Assistant Rotary Club of Milwaukee Editing by WE Energies Jenny Kostreva Contents Summary 2 About the Playwright /About the Field Day Group 3 Gaelic Proverbs 4 Terms from the Play 5 Ireland Timeline 6 Pre-Show Questions/Resources 7 Post-Show Questions and Activities 8 We couldn’t do it without you/Visiting the Rep 9 1 Summary Translations takes place in a hedge-school in the Book. Yolland keeps getting distracted from his work townland of Baile Beag/Ballybeg, an Irish-speaking and discusses the beauty of the country, the language community in County Donegal. and the people. Yolland wants to learn Gaelic and con- templates living in Ireland.
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A Study of the Fathers in Five Plays of Brian Friel
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ABSTRACT a Director's Approach to Dancing at Lughnasa Heidi
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Redalyc.BRIAN FRIEL: the MASTER PLAYWRIGHT
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Pelletier, Martine BRIAN FRIEL: THE MASTER PLAYWRIGHT Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 58, enero-junio, 2010, pp. 135-156 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348696007 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Brian Friel: the master playwright 135 BRIAN FRIEL: THE MASTER PLAYWRIGHT Martine Pelletier University of Tours, France Abstract: Brian Friel has long been recognized as Ireland’s leading playwright. His work for the theatre spans almost fifty years and his reputation has expanded well beyond Ireland. In January 2009 Friel turned eighty and only a few months before, his adaptation of Henrik Ibsen’s Hedda Gabler, opened at the Gate Theatre Dublin on 30th September 2008. This article will first provide a survey of Brian Friel’s remarkable career, trying to assess his overall contribution to Irish theatre, before looking at his various adaptations to finally focus on Hedda Gabler, its place and relevance in the author’s canon. Keywordsds: Brian Friel, Irish Theatre, Hedda Gabler, Adaptation, Ireland. Brian Friel has long been recognized as the leading playwright in contemporary Ireland. His work for the theatre spans almost fifty years and his reputation has expanded beyond Ireland and outside the English-speaking world, where several of his plays are regularly produced, studied and enjoyed by a wide range of audiences and critics.
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Brian Friel Papers (Additional)
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