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IRISH REPERTORY THEATRE Little Gem BY ELAINE MURPHY DIRECTED BY MARC ATKINSON BORRULL A PERFORMANCE ON SCREEN IRISH REPERTORY THEATRE CHARLOTTE MOORE, ARTISTIC DIRECTOR | CIARÁN O’REILLY, PRODUCING DIRECTOR A PERFORMANCE ON SCREEN LITTLE GEM BY ELAINE MURPHY DIRECTED BY MARC ATKINSON BORRULL STARRING BRENDA MEANEY, LAUREN O'LEARY AND MARSHA MASON scenic design costume design lighting design sound design & original music sound mix MEREDITH CHRISTOPHER MICHAEL RYAN M.FLORIAN RIES METZGER O'CONNOR RUMERY STAAB edited by production coordinator production coordinator SARAH ARTHUR REBECCA NICHOLS ATKINSON MONROE casting press representatives general manager DEBORAH BROWN MATT ROSS LISA CASTING PUBLIC RELATIONS FANE TIME & PLACE North Dublin, 2008 Running Time: 90 minutes, no intermission. SPECIAL THANKS Irish Repertory Theatre wishes to thank Henry Clarke, Olivia Marcus, Melanie Spath, and the Howard Gilman Foundation. Little Gem is produced under the SAG-AFTRA New Media Contract. THE ORIGINAL 2019 PRODUCTION OF LITTLE GEM ALSO FEATURED PROPS BY SVEN HENRY NELSON AND SHANNA ALISON AS ASSISTANT STAGE MANAGER. 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 MARSHA MASON (Kay) has summer 2019, Marsha starred in Irish received an Outer Critics Rep’s acclaimed production of Little Gem Circle Award and 4 Academy and directed a reading of The Man Who Awards nominations for her Came to Dinner with Brooke Shields and roles in the films “The Goodbye Walter Bobbie at the Bucks County Girl,” “Cinderella Liberty,” Playhouse and WP Theater in NYC. -
DUNCAN SYKRS Artistic Dircctor VINCENT EAVIS
George Vbollands and Margarct llcn<llt' li rurrrlt'< l Pl rst t'rrirrrrr irr 1924.'lhe company's first procluctiorr r,r,:rs llrt' rrou littl( krr()\\'n Tbe Tide by Basil McDonalcl llitstitrgs. Sirtt'r' tlrt'rr. llrt' r'r)nrl);urv has performed nearly 250 plays, usitrg llltt-r-rllv:rs;r lr:rsc srrtt' 1945. In this time Prosceniuln hits built ul) l sln)ns r1'l)lrt.ltr()rr for performing challenging plays (both clrtssic lrrrl cr)nl('nrl)()r.:u-\ ) to a high stanclard. Chairmztn DUNCAN SYKRS Artistic Dircctor VINCENT EAVIS Secretary ROBERT EWEN Contact uri 1rt: www.pfoscenirun. () rg - r r l( 'l'his seasr)n sLrpl)()r'l t'<l llr Rcgistercrl clr:rrit1, - Nr r Molly Sweeney By Brian Friel o tr o o U'= ->I o E = 25th-28h January 2006 Travellers Studio, Hatch End Molly Sweeney by Brian Friel The Playwright Molly Angie Sutherland Born in Omagh, Co. Tyrone in 1929, Brian Friel and his family moved to Derry Frank Duncan Sykes City in 1939. He started to write in the 1950s, first short stories and then Mr Rice David Pearson experimenting with drama. He recalled some twenty years later the impulse /o survey and analyse the mixed holding I had inherited: the personal, traditional Directed by Crystal Anthony and acquired lvtowledge that cocooned me, an lrish Catholic teacher with a Stage Manager Colin Hickman nationalist background, living in a schizophrenic community, son of a teacher, Lighting/Sound Arts Culture Harrow grandson of peasants who could neither read or write. -
Download Theatre
MICHAEL GOTTLIEB • LIGHTING DESIGN (917) 796-7775 [email protected] mgld.com Member, United Scenic Artists Local 829/NABET BROADWAY Lysistrata Jones Walter Kerr Theatre Dan Knechtges Orphans (Associate LD) Gerald Schoenfeld Theatre Pat Collins, LD A Tale of Two Cities (Associate LD) Al Hirschfeld Theatre Richard Pilbrow, LD OFF-BROADWAY The Sean O’Casey Cycle (3 plays in repertory) Irish Rep Directors: Neil Pepe, Ciaran O’Reilly, Charlotte Moore (selected credits) Bill Irwin: On Beckett Irish Rep Bill Irwin Woody Sez Irish Rep Nick Corley Afterplay Irish Rep Joe Dowling James Joyce’s The Dead, 1904 American Irish Historical Society Ciaran O’Reilly Shining City (with Matthew Broderick) Irish Rep Ciaran O’Reilly Major Barbara Pearl Theatre Co. David Staller Storyville York Theatre Bill Castellino Rated P for Parenthood Westside Theatre Upstairs Jeremy Dobrish Lysistrata Jones Transport Group Dan Knechtges Signs of Life Amas Musical Theatre Jeremy Dobrish The Master Builder (with James Naughton) Irish Rep Ciaran O’Reilly Spain MCC/Lucille Lortel Theatre Jeremy Dobrish Election Day Second Stage Jeremy Dobrish Complete Works of Wm. Shakespeare (Abridged) Century Center (Prod.: Jeffrey Richards) Jeremy Dobrish The Last Session 47th Street Theatre Jim Brochu The Impostor (A. Pendleton/C. Flockhart) Workhouse Theatre John Coles S. S. Glencairn - Four Plays of the Sea Willow Cabin Theatre Company Edward Berkeley REGIONAL/TOURS Bill Irwin: On Beckett Center Theater Group, Los Angeles Bill Irwin Ruggedly Jewish (with Bob Garfield) Philadelphia Theatre Company & Tour Michael Sexton U R Star A.R.T. Oberon, Ars Nova Kenny Finkle My Fair Lady 60th Anniversary (Assoc. LD) Sydney Opera House & Australian Tour Julie Andrews, Chris Gattelli The Great American Mousical (w/R. -
Theatrical Resume
DAVID ELLIOTT PRODUCER / DIRECTOR / GENERAL MANAGER BROADWAY / WEST END DAMES AT SEA PRODUCER HELEN HAYES THEATRE, NYC (TONY Nomination – Randy Skinner, Best Choreography) VANYA AND SONIA AND MASHA AND SPIKE PRODUCER JOHN GOLDEN THEATRE, NYC (TONY / Drama Desk Award Winner -Best Play) LEND ME A TENOR THE MUSICAL PRODUCER GIELGUD THEATRE, LONDON (Olivier Nomination – Sophie Louise Dann) TOUR / INTERNATIONAL IN THE CONTINUUM PRODUCER Harare International Festival of the Arts, Harare, Zimbabwe (OBIE Award, Outer Critics Circle Award) Baxter Theatre, Cape Town, South Africa Market Theatre, Johannesburg, South Africa Traverse Theatre, Edinburgh, Scotland U.S. Tour – 6 cities THE EXONERATED PRODUCER U.S. NATIONAL TOUR (Drama Desk, Outer Critics Circle Award, Lucille Lortel Award) AQUILA THEATRE COMPANY GENERAL MANAGER U.S. NATIONAL TOURS (2016-2020) OFF BROADWAY MSTRIAL GENERAL MANAGER NEW WORLD STAGES, STAGE 3, NYC MAVERICK DIRECTOR THE CONNELLY THEATRE, NYC THE SAINTLINESS OF MARGERY KEMPE PRODUCER/GENERAL MANAGER THE DUKE ON 42ND STREET, NYC GEORGE: MY ADVENTURES WITH GEORGE ROSE PRODUCER/GENERAL MANAGER DAVENPORT THEATRE, NYC (Drama Desk Award Winner) LITTLE ROCK GENERAL MANAGER THE SHEEN CENTER, NYC ANYTHING CAN HAPPEN IN THE THEATRE: GENERAL MANAGER THE TRIAD THEATRE, NYC AN EVENING WITH MAURY YESTON BEDLAM’S SENSE & SENSIBILITY GENERAL MANAGER GYM AT JUDSON, NYC (Off Broadway Alliance Award) BEDLAM’S NEW YORK ANIMALS GENERAL MANAGER NEW OHIO THEATRE, NYC EDISON’S ELEPHANT DIRECTOR METROPOLITAN PLAYHOUSE, NYC DEAR JANE GENERAL MANAGER -
Female Identity in Brian Friel's Molly Sweeney
34 / JOURNAL OF COMPARATIVE LITERATURE AND AESTHETICS From Sight to Touch: Female Identity in Brian Friel’s Molly Sweeney HAWK CHANG Abstract emale characters are often foils in Brian Friel’s plays. However, Friel’s Molly Sweeney F(1994) focuses on women’s central problem—the question of female identity. Although much has been examined regarding national identity, history, religion, emigration, and translation in Friel’s works, issues relevant to women and female identity are less addressed. This paper discusses female identity and difference in Friel’s Molly Sweeney via French feminist theories, exploring the extent to which women can move towards a position outside and beyond the male logocentric logic of A and B, a position of otherness or difference. Keywords: Irish women, identity, difference, Brian Friel, Molly Sweeney I. Prelude Although Irish women have been characterized in terms of allegorical mother figures for some time (Innes 1993, pp. 40-41; Nash 1993, p. 47), the image of women and their actual lives began to undergo significant changes in the last few decades of the twentieth century. Eavan Boland’s poem “The Women” showcases the way contemporary Irish women better grasp their own identity by removing “woman” from a clear-cut hierarchical dichotomy of man and woman and placing her in the nebulous state of “the in-between” (2005, p. 141). Nonetheless, there are still women who fail to recognize their innate power of feminine identity as difference lapses into an unfathomable darkness, as presented in Friel’s Molly in Molly Sweeney. Friel gained wide recognition with his earlier play Philadelphia, Here I Come (1964) and has since written “the most substantial and impressive body of work in contemporary Irish drama” (Maxwell 1984, p. -
New Articulations of Irishness and Otherness’1 on the Contemporary Irish Stage
9780719075636_4_006.qxd 16/2/09 9:25 AM Page 98 6 ‘New articulations of Irishness and otherness’1 on the contemporary Irish stage Martine Pelletier Though the choice of 1990 as a watershed year demarcating ‘old’ Ireland from ‘new’, modern, Ireland may be a convenient simplification that ignores or plays down a slow, complex, ongoing process, it is nonethe- less true to say that in recent years Ireland has undergone something of a revolution. Economic success, the so-called ‘Celtic Tiger’ phe- nomenon, and its attendant socio-political consequences, has given the country a new confidence whilst challenging or eroding the old markers of Irish identity. The election of Mary Robinson as the first woman President of the Republic came to symbolise that rapid evolution in the cultural, social, political and economic spheres as Ireland went on to become arguably one of the most globalised nations in the world. As sociologist Gerard Delanty puts it, within a few years, ‘state formation has been diluted by Europeanization, diasporic emigration has been reversed with significant immigration and Catholicism has lost its capacity to define the horizons of the society’.2 The undeniable exhil- aration felt by many as Ireland set itself free from former constraints and limitations, waving goodbye to mass unemployment and emigra- tion, has nonetheless been counterpointed by a measure of anxiety. As the old familiar landscape, literal and symbolic, changed radically, some began to experience what Fintan O’Toole has described as ‘a process of estrangement [whereby] home has become as unfamiliar as abroad’.3 If Ireland changed, so did concepts of Irishness. -
Field Day Revisited (II): an Interview with Declan Kiberd1
Concentric: Literary and Cultural Studies 33.2 September 2007: 203-35 Field Day Revisited (II): An Interview with Declan Kiberd1 Yu-chen Lin National Sun Yat-sen University Abstract Intended to address the colonial crisis in Northern Ireland, the Field Day Theatre Company was one of the most influential, albeit controversial, cultural forces in Ireland in the 1980’s. The central idea for the company was a touring theatre group pivoting around Brian Friel; publications, for which Seamus Deane was responsible, were also included in its agenda. As such it was greeted by advocates as a major decolonizing project harking back to the Irish Revivals of the late nineteenth and early twentieth centuries. Its detractors, however, saw it as a reactionary entity intent on reactivating the same tired old “Irish Question.” Other than these harsh critiques, Field Day had to deal with internal divisions, which led to Friel’s resignation in 1994 and the termination of theatre productions in 1998. Meanwhile, Seamus Deane persevered with the publication enterprise under the company imprint, and planned to revive Field Day in Dublin. The general consensus, however, is that Field Day no longer exists. In view of this discrepancy, I interviewed Seamus Deane and Declan Kiberd to track the company’s present operation and attempt to negotiate among the diverse interpretations of Field Day. In Part One of this transcription, Seamus Deane provides an insider’s view of the aspirations, operation, and dilemma of Field Day, past and present. By contrast, Declan Kiberd in Part Two reconfigures Field Day as both a regional and an international movement which anticipated the peace process beginning in the mid-1990’s, and also the general ethos of self-confidence in Ireland today. -
Lisa Kron & Madeleine George
MARSHA NORMAN: Why THE Matters he Count is an ongoing study survey much like our Count, it was found that the that asks the question, “Who Is percentage of women being interviewed, doing the Being Produced In American interviewing or being the subject of the story – was Theatres?” It is presented here exactly 20%. In the art museums, 80% of the art for the first time using three hanging on the walls is by men. The women’s work years of data from productions is stored in the basement. In orchestras, until the in regional theatres in America. advent of blind auditions, 20% of the players were As you will learn later, only women. This 20% number is the real ceiling we 22% of those productions were are fighting in our lives and in our careers today. written by women. This means that if life worked So what do we miss if we do not hear the voices of like the theatre, four out of five things you had women? Half of life, that’s what. It would be like Tever heard would have been said by men. That ignoring the stories of everything that happens in means you would have missed a lot, given the kinds the night. Or the day. Women have lived half of of things you learn from women. And why are we the experience of the world, but only 20% of it is missing the voices of women in reported in the theaters. Imagine the theatre? There is one simple if the newspapers only presented answer: artistic directors written by 20% of the news. -
BAM Announces Cast and Creative Team for the Master Builder—Directed by Andrei Belgrader
BAM announces cast and creative team for The Master Builder—directed by Andrei Belgrader World premiere production runs May 12–Jun 9 at BAM Harvey Theater Bloomberg is the BAM 2013 Winter/Spring Season sponsor Bank of America is the proud sponsor of BAM 2013 Theater The Master Builder By Henrik Ibsen Translated by David Edgar Directed by Andrei Belgrader Produced by BAM BAM Harvey Theater (651 Fulton St) May 12—Jun 9 (press opening May 19) Tickets: start at $25 Artist Talk: John Turturro and Andrei Belgrader May 1 at 7pm BAMcafé Tickets: $15 ($7.50 for Friends of BAM) Brooklyn, NY/Feb 21, 2013—A new BAM production of Henrik Ibsen’s The Master Builder marks the return of actor John Turturro in the title role and reprises Turturro’s work with director Andrei Belgrader (Endgame, 2008 Spring Season). Casting for the four-week run is complete and features Katherine Borowitz (Aline Solness), Ken Cheeseman (Dr. Herdal), Julian Gamble (Knut Brovik), Kelly Hutchinson (Kaja Fosli), Max Gordon Moore (Ragnar Brovik), and Wrenn Schmidt (Hilde Wangel), with Turturro in the role of Halvard Solness. In addition to director Belgrader, the creative team features set designer Santo Loquasto, costume designer Marco Piemontese, sound designer/composer Ryan Rumery, and lighting designer James F. Ingalls. The Master Builder was written in 1892 and is regarded as one of the Norwegian playwright’s most revealing and significant works. It tells the story of Halvard Solness, a middle-aged architect who comes to believe he has willed his professional accomplishments into reality, as though imbued with a God-given power. -
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 -
Brian Friel's Translations: Confrontation of British Cultural Materialism with Culture Farough Fakhimi Anbaran MA (Hons) in English Literature Iran
9ROXPH,,,,VVXH9-XO\,661 Brian Friel's Translations: Confrontation of British Cultural Materialism with Culture Farough Fakhimi Anbaran MA (Hons) in English Literature Iran Abstract From the very beginning of the formation of communities people shared, at least, one common base, within that they could help them live peacefully and communicate safely and continue their lives. Culture is ubiquitous to affect human life, but cultural materialism always tends to change and adjust itself with its malevolent purposes. British cultural materialism, as one form of cultural materialism during history, affected many communities, such as those of Ireland, India, etc. to spread its territory of imperialism, but the targeted communities always confronted with effects of imperialism in different ways. Intellectuals, as an engine to these movements, have always played an important role. One of these contemporary intellectuals is Brian Friel, the Irish writer. From the very beginning of his writing career, Friel's mind was obsessed with his homeland and the occupation of it by British imperialism. He, thoughtfully, tries to reflect this issue in his plays, especially Translations which is a mirror reflecting the presence of British imperialism in Ireland, and the attempts it does to colonize Ireland from various aspects. That is why the play seems to be important from different perspectives. Using critical theory including historical-biographical, sociological, psychological, and postcolonial approaches, this study hands over and foregrounds what people should notice when they face their own and other people’s cultures in order to understand their own culture better and prevent probable problems through knowing the essence of one's own culture, one can protect it while it is being attacked by other cultures, especially by cultural materialism. -
Brian Friel in Spain: an Off-Centre Love Story
Estudios Irlandeses, Issue 16, 2021, pp. 110-124 https://doi.org/10.24162/EI2021-10076 ____________________________________________________________________________________________ AEDEI Brian Friel in Spain: An Off-Centre Love Story María Gaviña-Costero Universitat de València Copyright (c) 2021 by María Gaviña-Costero. This text may be archived and redistributed both in electronic form and in hard copy, provided that the author and journal are properly cited and no fee is charged for access. Abstract. Spanish theatres are not prolific in the staging of Irish playwrights. However, the Northern Irish writer Brian Friel (1929-2015) has been a curious exception, his plays having been performed in different cities in Spain since William Layton produced Amantes: vencedores y vencidos (Lovers: Winners and Losers) in 1972. The origin of Friel’s popularity in this country may be attributed to what many theatre directors and audiences considered to be a parallel political situation between post-colonial Ireland and the historical peripheral communities with a language other than Spanish: Catalonia, the Basque Country and Galicia; the fact is that the number of Catalan directors who have staged works by Friel exceeds that of any other territory in Spain. However, despite the political identification that can be behind the success of a play like Translations (1980), the staging of others with a subtler political overtone, such as Lovers (1967), Dancing at Lughnasa (1990), Molly Sweeney (1994), Faith Healer (1979) and Afterplay (2001), should prompt us to find the reason for this imbalance of representation elsewhere. By analysing the production of the plays, both through the study of their programmes and interviews with their protagonists, and by scrutinising their reception, I have attempted to discern some common factors to account for the selection of Friel's dramatic texts.